Conquest of Paradise

Conquest of Paradise · Vangelis 1492 ℗ 1992 Warner Music UK Ltd Performance, Producer: Vangelis Arranger, Composer, Lyricist: Vangelis Auto-generated by YouTube.

Puccini: Gianni Schicchi - "O mio Babbino caro"

Puccini: Gianni Schicchi - "O mio Babbino caro" · BBC Concert Orchestra · Barry Wordsworth Vissi d'Arte - Opera for Orchestra ℗ 1997 Universal International Music B.V. Released on: 1997-11-04 Producer: Anna Barry Studio Personnel, Balance Engineer: Dick Lewzey Studio Personnel, Editor: James Brown Composer: Giacomo Puccini Author: Giovacchino Forzano Author, Original Text Author: Dante Alighieri Arranger, Work Arranger: G. Alexander Auto-generated by YouTube.

13-year-old Ukrainian refugee plays poignantly on public piano, one year since the war began

Alisa Bushuieva performed at the Liverpool ONE shopping centre this morning. Picture: Alamy

By Sophia Alexandra Hall

@sophiassocials

 

The young musician fled Ukraine at the start of the war last year, taking only the belongings ‘near her hands’. 

13-year-old Ukrainian refugee Alisa Bushuieva performed a selection of ‘sad songs’ on a piano in a Liverpool shopping centre this morning, marking one year since Russian forces invaded her home country.

Bushuieva and her mother, Svitlana, fled their home country of Ukraine after Russian forces began dropping bombs on their hometown of Kharkiv on 24 February 2022.

The teenager and her mum subsequently spent time in Ukrainian and Polish refugee camps, where Bushuieva would play the piano to lift the spirits of those around her.

Now living in Wirral in the UK, Bushuieva was invited to play the piano in the city centre of the Liverpool ONE shopping centre this morning, exactly one year after the invasion of her home country began. Listen to a clip of her moving performance below. 

Bushuieva was asked to perform by the Place Strategy Director of Liverpool ONE shopping centre, Donna Howitt, who saw her musical talents.

Howitt told PA News: “Inviting [Bushuieva] to perform felt a respectful way to support her passion and join on the solidarity with the Ukrainian community on this day.

“I had the privilege of being able to visit Alisa and hear her play and I was totally moved – she is an incredibly talented young lady and has obviously done so much to support her friends and indeed her community too.” 

Before playing for the crowd that gathered around her piano, the teenager said, “this will be a very memorable occasion for me and something I will never forget”.

After performing a selection of slow and reflective pieces, the teenager marked a one minute silence, which was held across the UK at 11am to mark one year since Russia’s invasion of Ukraine.

Following the silence, Bushuieva played the Ukrainian national anthem, a work that has taken on a new meaning of hope and perseverance over the last year, with many musicians across the world performing the melody.

Alisa Bushuieva marks the anniversary of the beginning of the war in Ukraine. Picture: Alamy

According to reports, Bushuieva’s performance carried an extra meaning to herself and her mother, who had recently learned that a close family friend had been killed amidst the fighting at home.

While living in Ukraine, the teenager studied at a music school, and has continued her lessons online since arriving in the UK.

Despite adjusting to life in the UK, Bushuieva shared with the Liverpool Echo that she “very much [wants] to go home”.

She told the local newspaper that she decided to perform in the city centre today because by her own testament, “music helps people feel better. It saves lives and I need to make people feel better.”

She added: “I’m very proud of my country that for a year during this hard time it still stands very strong. I hope that soon [the war] will be [over]”.

The Best of Abel Korzeniowski | Some of the best movie soundtracks

As sad as these pieces might sound, they bring you a lot of feelings besides tragedy.. You live so many memories and dreams, upsetting and happy ones. The creativity of the variety of emotions poured into those tracks is absolutely beautiful and i hope you guys enjoy this amazing composer's beauty with me.. Soundtrack Playlist: 0:01 - 2:59 Dance For Me Wilz - W.E 3:00 - 7:12 Letters - W.E 7:13 - 10:25 Table For Two - Nocturnal Animals 10:26 - 13:06 Wayward Sisters - Nocturnal Animals 13:07 - 15:51 My Sons are Alive - Tickling Leo 15:52 - 19:05 Melting Waltz - Penny Dreadful 19:06 - 22:45 Stillness of the Mind - A Single Man 22:46 - 26:01 A Song for the Little Sparrow - KAAS 26:02 - 29:13 Flying with Whales - Battle For Terra 29:14 - 31:23 Gates of Tomorrow - Escape From Tomorrow 31:24 Come, Gentle, Little Go - Romeo and Juliet

The Best of Rachel Portman (Part1) | Some of the best movie soundtracks

I hope you guys enjoy this beautiful composer's music just as I always do :)

Big Band Symphonic Medley - John Wilson Orchestra (Arr. Andrew Cottee)

1,564,374 views Dec 17, 2015

© BBC. First broadcast: Christmas Day 2010 - BBC2 TV. Pieces: 0:23 - Skyliner - Charlie Barnet 1:01 - Take the 'A' Train - Duke Ellington 1:29 - Let's Dance - Benny Goodman 2:08 - I've Got My Love to Keep Me Warm - Irving Berlin 2:45 - Begin the Beguine - Artie Shaw 3:27 - I'm Getting Sentimental Over You - Tommy Dorsey 4:14 - Midnight Sun - Lionel Hampton/Sonny Burke 4:43 - You Made Me Love You - James V. Monaco 5:43 - Moonlight Serenade - Glenn Miller 6:26 - Peanut Vendor - Stan Kenton 7:03 - Woodchopper's Ball - Woody Herman 7:33 - One O'Clock Jump - Count Basie

Quando, Quando, Quando - Gimnazija Kranj Symphony Orchestra and Soloists

Gimnazija Kranj Great Christmas Concert 2017 - Invitation to the Dance. Gimnazija Kranj Symphony Orchestra and United Choirs performed this stunning music under the baton of maestro Nejc Bečan. The Orchestra sold out two consecutive nights, december 18th and 19th, 2017 in Gallus Hall, Cankarjev doma, Ljubljana, Slovenia, EU. They played as usual with great spirit and musical excelence. Concert master is Nejc Avbelj. Our youth orchestra set another musical milestone. Concert and film director: Primož Zevnik "Quando, quando, quando" (pronounced [ˈkwando ˈkwando ˈkwando]) is an Italian pop song from 1962, in the bossa nova style, with music written by Tony Renis and lyrics by Alberto Testa. The song, originally recorded in two different versions by Tony Renis and Emilio Pericoli, competed in the Sanremo Music Festival in 1962, where it placed fourth, and later became a commercial success in Italy, topping the Musica e dischi singles chart. arrangement: Jaka Pucihar Solo vocal: Lovro Krišelj and Neža Čadež

Beethoven: Piano Concerto No. 4 in G Major op. 58 | Y. E. Son

44,844 views Jan 9, 2023 ST.-GEORGEN-KIRCHE

The NDR Radiophiharmonie performs Ludwig van Beethoven's Piano Concerto No. 4 in G Major, op. 58 under the baton of Andrew Manze. LUDWIG VAN BEETHOVEN Piano Concerto No. 4 in G Major, op. 58 00:00 I. Allegro moderato 00:02 II. Andante con moto 19:10 III. Rondo. Vivace 24:40 Yeol Eum Son, piano Andrew Manze, conductor NDR Radiophilharmonie Excerpt from the concert recording from November 5, 2022, St.George's Church, Wismar Website: https://www.ndr.de/radiophilharmonie Facebook: https://www.facebook.com/NDRRadiophil...

Charles Aznavour - La bohème (Official Lyrics Video)

Official lyrics video of La bohème by Charles Aznavour Commandez et écoutez: https://aznavour.lnk.to/AlbumSaVie100... Auteur : Jacques Plante Compositeur : Charles Aznavour Éditions Musicales Charles Aznavour

Stairway to Heaven with Amazing Gimnazija Kranj Symphony Orchestra

NEW in 2019!!! Stunning New World Symphony: https://youtu.be/O_tPb4JFgmw Stunning Trombone Solo with Symphony Orchestra (Always on my mind) https://youtu.be/iK7N2hle6CI Gimnazija Kranj Great Spring Concert 2012 in Gallus Hall, Cankarjev dom. 20.th concert anniversary. Music, Rhythm and Dance. 10 years of Gimnazija Kranj Symphony Orchestra. Also a celebration of 20th year of our lead sponsor: Hranilnica Lon bank. They performed legendary rock ballad: Stairway to Heaven. Arrangement: Marjan Peternel. Sold out concert and amazing performance. Sponsor: Hranilnica Lon d.d., Kranj. Conductor: Nejc Bečan; concert direction: Primož Zevnik; glasba: Led Zeppelin

Love is in the Air - Gimnazija Kranj Symphony Orchestra

Gimnazija Kranj Great Spring Concert 2012 in Gallus Hall, Cankarjev dom. 20.th concert aniversary. Music, Rhytm and Dance. 10 years of Gimnazija Kranj Symphony Orchestra. Also celebration of 20th year of our lead sponsor: Hranilnica Lon bank. They performed disco legend: Love is in the Air. Arrangement: Nejc Bečan. Sold out concert and amazing performance. Sponsor: Hranilnica Lon d.d., Kranj. Conductor: Nejc Bečan; concert direction: Primož Zevnik; glasba:

Haydn Symphony No. 49 in F minor ' La Passione '

Orchestra of St. John's, Smith Square, London - John Lubbock, conductor Visit Musical musings at http://muswrite.blogspot.com/

Why Musicians Enjoy Puns and Quips

By Janet Horvath, Interlude

Musicians, like so many others, enjoy jokes, especially those that are puns related to music, composers, and musicians. Backstage, even onstage during rehearsals, these anecdotes, puns, and gags fly. Perhaps it’s because we spend so much time in a practice room, we get punchy and resort to joking about it. As students we start out with simple short quips:

Why is a piano so hard to open?
Because the keys are on the inside.

What is the difference between a fish and a piano?
You can’t tuna fish.

Want to hear the joke about a staccato?
Never mind. it’s too short.

How do you fix a broken tuba?
With a tuba glue.

While gleaning knowledge of the finer points of theory, as we develop as musicians, and so do our jokes, becoming more sophisticated. Perhaps it’s less likely that the uninitiated will “get” the joke immediately. Like this one:

Arnold Schoenberg walks into a bar, “I’ll have a gin please but no tonic.” 

This jest is a favorite among musicians:

C, E-flat, and G go into a bar. The Bartender says, “Sorry. We don’t serve minors.”

But there’s much more to this story! (With a few additions from me…)

So, E-flat leaves, and C and G have a fifth between them. After a few drinks, the fifth is diminished and G is out flat. F comes in and tries to augment the situation but is not sharp enough. D enters the bar and heads for the bathroom saying, “Excuse me; I’ll just be a second.”

Then A comes in, but the bartender is not convinced that this relative of C is not a minor. Then the bartender notices B-flat hiding at the end of the bar and says, “Get out! you’re the seventh minor I’ve found in the bar tonight!” The bouncer is asked to take a stand, and he doesn’t let the quavers into the bar because they are slurring.

The refrain continues tempo rubato.

E-flat returns the next night, all gussied up, in a three-piece suit with nicely shined shoes. The bartender notices, “You’re looking sharp tonight. Come on in! This could be a major development.” Sure enough, E-flat soon strips taking off his suit and everything else and suddenly he is au natural. Just a second, “says the bartender, “I’m going to prevent you from walking into another bar. That would cause difficult times and lead to repercussions!” The tenor of his remarks is all too clear.

Eventually, C sobers up and realizes in horror that he and E-flat are under a rest. E-flat gets into treble and C is brought to trial, found guilty of contributing to the diminution of a minor, and is sentenced to 10 years D.S. without Coda at an upscale correctional facility. This noteworthy opus is a cue for other minors.

All types of musicians and artists like to mutter wisecracks. American comedian and actor George Carlin came up with a good one:

If lawyers are disbarred and clergymen defrocked. Doesn’t it follow that electricians can be delighted and musicians denoted?

And artists criticizing other artists is not new:

“Wagner has beautiful moments but bad quarters of an hour.” Gioachino Rossini.

“A gentleman is someone who knows how to play the banjo – and doesn’t” Mark Twain.

Several of the conductors I have worked with wouldn’t hesitate to tell a few good jokes. Leonard Slatkin loved to tell stories and Neville Marriner engaged in plenty of practical jokes. I recall a children’s concert when we played Manuel de Falla’s Three Cornered Hat. Instead of a baton he whipped out a long-legged rubber chicken and proceeded to conduct waving the prop. Most of the orchestra lost their grip. 

But musicians love to poke fun at conductors. This “accusation” is a case in point, from The Onion, “America’s Finest News Source,” “maintaining a towering standard of excellence,” and notorious for their satirical articles:

Philharmonic Orchestra Conductor Receives 8-Concert Suspension For Using Corked Baton
Published June 15, 2022

BOSTON—An investigation into the musician’s suspiciously powerful work concluded Tuesday as Boston Philharmonic Orchestra conductor William Ness reportedly received an eight-concert suspension for using a corked baton. “We have a zero-tolerance policy against cheating, and Mr. Ness knew that, which is why we believe that a long suspension that will cause him to miss the summer concert series in the park is necessary to ensure we maintain integrity in our philharmonics,” said National Orchestra Association spokesperson Leonid Radzinsky, adding that Ness had been under investigation after an anonymous member of a competing orchestra alleged that the maestro’s baton sounded corked as it whirled through the air. “We’re disappointed that it had to come to an investigation, but Mr. Ness’ recent sharp increase in keeping the woodwinds coherent and controlling the volume of the timpani did raise some eyebrows.

Normally you don’t see that much of a leap in precision unless the baton’s been tampered with to become lighter. We can’t end up in a situation where an audience member questions whether a conductor bringing in the cello section at the perfect time is due to skill alone or due to modifications that give them an unfair advantage. We need to ensure that the product we offer our fans is above suspicion…”

We musicians, although we’re very serious about our music-making and the dedication it takes to be successful in this wonderful field, can’t help these moments of levity. Who can?

Understanding Performance Anxiety

By Frances Wilson, Interlude

Vladimir Horowitz at the Carnegie Hall concert in 1965

Managing the physical symptoms

“Each time, before I went on stage, I began to think, ‘How can I go on playing the piano, if this is what it’s going to be like?’” – Steven Osborne, concert pianist

The physical symptoms of stage fright or Performance Anxiety, as outlined in my previous article, can be unpleasant and debilitating. Racing heart and trembling fingers can threaten to derail a performance by the most professional and/or well-prepared musician, and classical musicians are especially prone because accuracy and virtuosity are crucial to their art.

Understanding the physiology of the symptoms (the “fight or flight” response) and accepting that these symptoms are normal and common to us all can go some way in managing and alleviating the symptoms of Performance Anxiety. This can also help us let go of some of the negative psychological effects and messages we give ourselves when we are nervous.

The flood of adrenaline in the body can give a significant boost to the body which can be used positively in performance, injecting it with energy and excitement. But this needs to be balanced, as too much adrenaline can make one feel jittery and unstable.

Certain physical actions and exercises can help calm the body when in an anxious state:

• Deep thoracic (Pilates) breathing (breathe in for 4 counts, out for 6). This slows the heart rate and attendant symptoms (breathlessness, palpitations etc) and relaxes muscles which become tense due to anxiety.

• Gentle exercises such as swinging or shaking arms and hands, and legs

• Power poses – proven to lower cortisol (stress hormone) levels in the body and psychologically they can make you feel bigger and stronger

These simple exercises can be done while waiting to perform and may also act as a distraction from some of the psychologically symptoms of Performance Anxiety.

Unfortunately, for some musicians the physical symptoms are so overwhelming that they may resort to betablockers (which lower the heartrate) or even alcohol. The problem here is that while pills or alcohol may dull the nerves, they take the edge off tension and inspiration which make a great performance. They also treat only the symptoms, not the cause of Performance Anxiety. 

Managing the psychological symptoms

While the physical symptoms are easily understood and can be managed with simple exercises, managing the psychological symptoms of Performance Anxiety is more complex. Fundamentally, Performance Anxiety stems from fear – the fear of making a mistake and looking foolish in front of audience, colleagues, tutors and friends. This is reinforced by an unhealthy focus on perfectionism which is inculcated in musicians in the early stages of their training and reiterated through the commentary of critics and reviewers and high-quality, “perfect” recordings.

In reality, perfectionism is an artificial construct and to counter this, it is helpful to think about a performance situation in a more rational way. For example, instead of viewing the audience as the “enemy” and thinking that the performance will either be perfect or a complete disaster if it is not, the musician should “retrain” him or herself to regard the audience as a friendly ally and to see a few slips or mistakes as inevitable – because we are all human.

“There is often a large disparity between the reality of the ‘threat’ and a performer’s experience of it – the audience can be imagined as a very hostile, critical group when by and large they are simply there to enjoy themselves. Coming to grips with this disparity is a crucial part of developing as a performing musician.” – Steven Osborne

Good preparation, the result of deep, thoughtful and careful practising, is crucial in managing Performance Anxiety and the irrational feelings which surround it. The Russian pianist Vladimir Horowitz would say ahead of a performance “I know my pieces”, reassuring himself with the knowledge that he had done his practising and was well-prepared. Good preparation breeds confidence. The maxim “through discipline comes freedom” also applies: disciplined preparation allows one to set the music free in concert, creating a performance which is rich in expression and emotion, bringing the music alive for others.

Putting the experience of performing into perspective is also helpful. Performing music is a highly skilled art, but it is not brain surgery or rocket science! No one will die if you make a mistake – and often audiences don’t even notice errors or slips, as they are immersed in the total musical experience rather than focussing on the minutiae of it. The ego may be damaged by a few errors, but nothing really terrible will happen to the performer as a result. Alongside good preparation, as performers, we can help ourselves to boost our confidence, leading to a successful performance:

• Select repertoire which suits you and which you know you can play well

• “Stress test” your playing in the practice room using video and recording, and perform the programme for friends or in a more informal setting before the main performance. Note weak areas which need additional focus and work on these in practice.

• Adopt a positive mindset and consider using techniques drawn from Neuro-Linguistic Programming and Cognitive Behavioural Therapy to turn negative thoughts and the ‘toxic inner critic’ into positive affirmation and confidence-boosting messages. For example, turn “I am nervous” into “I am excited” and “I can do this!”.

• Recall previous successful performances and draw confidence from these. Try to recreate the same feelings experienced during a successful performance.

• Remember the audience is not the “enemy” and they are there to enjoy sharing the music with you.

• Accept that anxiety is normal and that it also shows that you care about what you’re doing. Lose the emotional edge and your music may become lifeless and uninteresting. Music is an emotional experience – keep in touch with your emotions and use them to bring the music to life in vivid colour and expression.

• Try not to pre-empt a performance with negative thoughts such as “it won’t go well” or “it won’t be any good”. Instead, focus on the narrative and imagery of the music you are performing and how to convey this to the audience.

• Use visualisation techniques to imagine a successful performance, including actions such as walking onto stage and preparing to play.

• Play with passion and with joy, remaining “in the moment” of the performance and let the music carry you – and the audience – along, rather than obsessing about tricky sections which are to come.

• If during the performance you feel your anxiety is getting in the way of your playing, try taking a deep breath and exhaling slowly. This helps you to refocus on the music.

After the performance, accept the compliments and positive feedback from teachers, colleagues, friends and audience members and draw confidence from this. Don’t dwell on what happened or what “might have been”. Instead, start preparing for the next performance with a sense of adventure and excitement.

Piano Man - Billy Joel (Michael Cavanaugh Cover)

Here is my live cover of "Piano Man" with an orchestra! It's been quite a while since I played in piano bars, but the piano bar is still in me. Hope you like it :)