Dvořák: Symphony No. 9 From the New World

It is one of the most popular symphonies ever: Antonín Dvořák’s Symphony No. 9 in E minor, Op. 95 “From the New World.” Here, the masterpiece is performed by the Verbier Festival Orchestra under the baton of Neeme Järvi at the Verbier Festival 2012. (00:00) Coming on stage (00:27) I. Adagio. Allegro molto (12:16) II. Largo (23:29) III. Scherzo: Molto vivace (31:34) IV. Allegro con fuoco Antonín Dvořák’s Symphony No. 9 in E minor, Op. 95 “From the New World” is the musical testimony of a fusion of sounds from home and abroad. Although Dvořák composed the world-famous Ninth Symphony “in the spirit of American folk songs” during a stay in the USA, he actually invented the themes and motifs to be reminiscent of Bohemian folk tunes. Dvořák (1841-1904) had left his homeland of Bohemia (in what is today the Czech Republic) in 1892 for New York, where he was the Director of the National Conservatory of Music until 1895. Dvořák named the symphony he wrote in New York in 1893 “From the New World” after it was first published as Symphony No. 5. According to the composer, the symphony was intended to reflect his idea of the spirit of American music. Dvořák had listened to melodies of Native Americans and African Americans played to him to capture their musical spirit – he by no means wanted to completely replicate the music. In the second and third movements of “From the New World,” Dvořák also references the epic poem Hiawatha by U.S. author Henry Wadsworth Longfellow (1807 - 1882), which tells the story of the fictitious chief Hiawatha. But beyond the explicit agenda of writing the symphony “From the New World,” Dvořák also incorporated Bohemian folk music into his Ninth and drew from this mix a wealth of catchy melodies. It is the fusion of supposedly Native American and Bohemian folk music that gives Dvořák’s Symphony No. 9 its special appeal. The premiere on December 16, 1893, with the New York Philharmonic conducted by Anton Seidl, was a resounding success, as were the first performances in Europe. To this day, Dvořák’s Ninth Symphony is very popular with audiences. And astronaut Neil Armstrong even took it with him on the Apollo 11 mission that led to the first moon landing in 1969. Neeme Järvi was born in Tallinn, Estonia in 1937. He studied percussion and choral conducting at the conservatory of his native city before later pursuing his studies to become a conductor at the N. A. Rimsky-Korsakov Conservatory in then Leningrad. From 1963 to 1979, he held the position of Principal Conductor at the Estonian National Symphony Orchestra, and from 1964 to 1975, he headed the Estonian National Opera in parallel. Shortly after Järvi’s first performance at the New York Metropolitan Opera, in 1979, he emigrated to the USA. There, he soon began collaborating with the New York Philharmonic, the Philadelphia Orchestra and the San Francisco Symphony. In 1982, he became the Principal Conductor at the Gothenburg Symphony Orchestra, from 1984 to 1988, he headed the Royal Scottish National Orchestra, and from 1990 to 2005, he led the Detroit Symphony Orchestra. In 2005, Järvi became the Music Director of the New Jersey Symphony Orchestra and Chief Conductor of the Residentie Orkest The Hague. From 2010 to 2020, he acted as the Principal Director and Artistic Director of the Estonian National Symphony Orchestra, and he currently holds the title of Chief Conductor Emeritus at the Residentie Orkest The Hague and Music Director Emeritus at the Detroit Symphony Orchestra. In the course of his sixty-year career, Neeme Järvi has conducted over 150 orchestras. His discography comprises over 450 recordings – many of which award-winning. At the 2018 Gramophone Awards, he was bestowed the Lifetime Achievement Award for his extensive and high-quality range of works. Neeme Järvi is the head of a musical dynasty. His children are also very successful musicians: His sons Paavo and Kristjan have become conductors, and his daughter Maarika a flutist. There is a wealth of videos featuring Paavo Järvi on DW Classical Music. Here – like his father before him – he can be seen conducting Antonin Dvořák’s Symphony No. 9 “From the New World”:    • Dvořák: Symphony No. 9 From the New World ...   The Verbier Festival is one of the world’s most prestigious classical music events. The quality of participating artists is coupled with the originality of the programs. The festival is held from late July to early August in the mountain resort of Verbier, Switzerland.

Strauss | Waltzes & Classical Music Masterpieces

1,316,905 views Dec 29, 2023 #classicalmusic #strauss

🎵 Buy the MP3 album on the Official Halidon Music Store: https://bit.ly/3RrB8Rw 💿 Order the Vinyl on Amazon: https://lnk.to/StraussClassicalMusic 🎧 Listen to our playlist on Spotify: https://bit.ly/Classicalromance 👉 Sync Licensing: https://licensing.halidonmusic.com ☕ Buy us a coffee: https://www.buymeacoffee.com/halidonm... Strauss Waltzes & Classical Music Masterpieces Tracklist: 00:00 Strauss II - Frühlingsstimmen (Voices of Spring), Op. 410 Donetsk Philharmonic Orchestra, Silvano Frontalini 07:37 Strauss II - Kaiser-Walzer (Emperor Waltz), Op. 437 Vilnius Orchestra, Silvano Frontalini 19:33 Strauss II - Annen-Polka, Op. 117 22:40 Strauss II - Tritsch-Tratsch-Polka, Op. 214 25:18 Strauss II - Wiener Blut (Viennese Blood), Op. 354 Stettino Philharmonic Orchestra, Stefan Marzcik 34:36 Strauss I - Radetzky March, Op. 228 Donetsk Philharmonic Orchestra, Silvano Frontalini Johann Baptist Strauss II (25 October 1825 – 3 June 1899), also known as Johann Strauss Jr., the Younger or the Son, was an Austrian composer of light music, particularly dance music and operettas as well as a violinist. He composed over 500 waltzes, polkas, quadrilles, and other types of dance music, as well as several operettas and a ballet. In his lifetime, he was known as "The Waltz King", and was largely responsible for the popularity of the waltz in Vienna during the 19th century. Some of Johann Strauss's most famous works include "The Blue Danube", "Kaiser-Walzer" (Emperor Waltz), "Tales from the Vienna Woods", "Frühlingsstimmen", and the "Tritsch-Tratsch-Polka". Among his operettas, Die Fledermaus and Der Zigeunerbaron are the best known. Strauss was the son of Johann Strauss I and his first wife Maria Anna Streim. Two younger brothers, Josef and Eduard Strauss, also became composers of light music, although they were never as well known as their brother.

Saint-Saëns: Symphony No. 3 'Organ Symphony'

Camille Saint-Saëns’s Symphony No. 3 in C minor, Op. 78, better known as the "Organ Symphony," is one of the most significant pieces of the composer's career. Completed in 1886 for the Royal Philharmonic Society in London, it marked the composer's return to the symphonic form after years focused on other genres. In this video, the symphony is performed by the Berlin Radio Symphony Orchestra conducted by Marek Janowski. The organ is played by Iveta Apkalna. The concert took place on January 22, 2013, at the Berliner Philharmonie to mark the 50th anniversary of the signing of the Élysée Treaty between France and Germany. (00:00) I. Adagio – Allegro moderato – Poco adagio (19:08) II. Allegro moderato – Presto – Maestoso – Allegro In 1857 Camille Saint-Saëns was hired as the main organist at Paris's most fashionable church, Église de la Madeleine. While the who's who of French high society met there each Sunday to worship, the composer was less interested in social status than he was in the church's magnificent organ built in 1845 by Aristide Cavaillé-Coll. Indeed, the composer is said to have called to the two decades he spent at the organ's keys as the greatest years of his life. Europe's classical music elite, meanwhile, were equally impressed. The likes of German pianist and composer Clara Schumann and Spanish violinist Pablo de Sarasate came to listen to his dazzling improvisations, while Hungarian composer and virtuoso pianist Franz Liszt called him "the greatest organist in the world." Yet, despite his popularity as an organist, Saint-Saëns rarely composed for the instrument. One of the exceptions is the Symphony No. 3 in C minor, the so-called "Organ Symphony." Yet even this nickname can be a bit misleading if one expects to hear the organ consistently front and center. The pipe organ enters in the latter halves of the two large sections. Yet when it does, its sound instantly reshapes the piece's sonic landscape. It's used as a foundation for the orchestra’s climactic moments, adding a weight and depth that emphasizes the final passages of the piece. This approach reflects both his mastery of orchestral color and his connection to tradition, even as he pushes the symphony forward. With this piece, considered one of the most enduring works of the French repertoire, Camille Saint-Saëns also reshapes the traditional symphonic structure. Instead of the usual four separate movements, he created two large blocks of music where themes evolve and reappear, giving the piece a sense of unity. This unified structure echoes that of Franz Liszt's oft-analyzed Piano Sonata in B minor, which comprises a single movement that covertly holds within it four distinct movements (allegro, adagio, scherzo and finale). Saint-Saëns also employs Liszt's concept of thematic transformation, whereby different themes, aka "leitmotifs," are transformed through inversion, modulation, fragmentation and other means — and then reappear throughout the piece. Perhaps it comes as little surprise that Saint-Saëns dedicated his organ symphony to Liszt. Based in the German capital, the Berlin Radio Symphony Orchestra ("Rundfunk-Sinfonieorchester Berlin") is the country's second-oldest radio symphony orchestra and was founded in 1923.

From Titanic to James Bond - The TOP 10 Movie Songs You’ll Never Forget ...

238,730 views Oct 25, 2025 #TheEuropeanPopOrchestra #TheMaestro #Movies

00:00 - 04:42 My Heart Will Go On (Titanic) 04:43 - 08:49 Once Upon A Time In The West 08:50 - 13:42 The Winner Takes It All (Mamma Mia) 13:43 - 18:44 Forrest Gump Suite (Forrest Gump) 18:45 - 23:04 Colors of the Wind (Disney Pocahontas) 23:05 - 26:54 Skyfall (James Bond) 26:55 - 30:57 The Circle Of Life (The Lion King) 30:58 - 33:27 Pirates Of The Caribbean 33:28 - 37:14 Let It Go (Disney Frozen) 37:15 - 41:03 Bella Ciao (La Casa De Papel)

Warsaw Concerto (Richard Addinsell)

870,319 views Aug 30, 2009

Live performance of Warsaw Concerto by Richard Addinsell. The soloist was Chris Hill with the West Forest Sinfonia, conducted by Stephen Armstrong. Recorded on 11th November 2006 in All Saints Church, High Wycombe. This performance is dedicated to Peter Branson, my first piano teacher. He sadly passed away before I ever performed in public, but his memory inspires every performance I give today. I keep this channel ad-free. If you like my compositions or playing, please subscribe. If you love them, click on the "Thanks" button to buy me a coffee :-)

James Last ~ Humming Chorus From Madame Butterfly

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Sissel Kyrkjebø & Jose Carreras - Quando Sento che Mi Ami

3,897,376 views Jul 17, 2011

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Whitney Houston - I Have Nothing (The Concert for a New South Africa [

3,371,244 views Oct 15, 2024 #WhitneyHouston #IHaveNothing #Live

Whitney Houston - I Have Nothing (The Concert for a New South Africa (Durban)) In Cinemas Worldwide October 23 & 27 Tickets and Information at https://www.whitneysouthafrica.com/ New Live Album "The Concert for a New South Africa (Durban)” Available November 8, Pre-Order or Pre-Save Now! https://whitneyhouston.lnk.to/SouthAf... In 1994, Whitney Houston took the stage in Durban, South Africa, making her the first major Western musician to visit the newly unified, post-apartheid nation following President Nelson Mandela’s winning election. This performance was more than a concert; it was a celebration of freedom, hope, and unity. Whitney’s powerhouse voice and emotional delivery brought joy and inspiration to a country newly liberated. Now, 30 years after the historic visit, The Concert for a New South Africa (Durban) comes to the big screen for the first time. Digitally remastered in 4K and featuring newly-enhanced audio, the film captures every note, every cheer, every tear, immortalizing a night that transcended music and became a beacon of change and celebration. Listen to Whitney Houston: https://WhitneyHouston.lnk.to/listenYD Watch more Whitney Houston videos: https://WhitneyHouston.lnk.to/listenYD

What is a prelude in music?

Stephen Johnson gets to grips with classical music's technical terms

BBC Music Magazine

Published: June 9, 2016 at 6:29 pm

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A musical prelude is an introduction to a larger piece of music. In some instances, it can stand alone as an independent piece, but most often it is heard as a preface, which may introduce musical themes that are then developed later on in the work.

Here, surely, is a musical term that’s simple enough to define. The word ‘Prelude’ comes directly from the Latin ‘praeludere’ – ‘to play before’. And that, for several centuries, was the Prelude’s function.   

It was partly practical necessity. Lutenists, wanting to test their tuning and the acoustics of the room, would improvise a little warm-up piece before getting down to business.

Fitted out with the title ‘Praeludium’ this soon became a solid part of the ritual of music making. Church organists would also improvise preludes: 1) to create a suitable devotional atmosphere before the service; and 2) to flush out any incipient technical problems.

The ‘chorale preludes’ of JS Bach and his contemporaries (preludes based on a hymn tune) were generally composed with function 1 in mind – and perhaps sometimes function 2 as well.

But the fact that – on paper at least – you could have a separate, self-sufficient piece called ‘prelude’ presaged a momentous change.

In the Baroque era, most pieces called ‘prelude’ were still designed to introduce something: an instrumental suite perhaps, or a grand contrapuntal display, as in Bach’s stupendous two-volume collection of 48 Preludes and Fugues (The Well-Tempered Clavier).     ven there, though, the ‘introductory’ character of some of the preludes is questionable: doesn’t the E flat major Fugue in Book I tend to sound like a relatively lightweight coda to the magnificent ‘Prelude’ that in most performances triumphantly upstages it?

Chopin may have had similar thoughts when he created the first great set of 24 Preludes – it’s tempting to call them ‘Preludes without Fugues’. But by then the word ‘prelude’ had become general Romantic currency.

The Romantics loved incompleteness: ruins, fragments, unfinished utterances that seemed to falter on the edge of the inexpressible. The notion of a ‘prelude to… what?’ fascinated them.

The score of Liszt’s symphonic poem Les préludes has a literary preface which opens with a question: ‘What else is our life but a series of preludes to that unknown Hymn, the first and solemn note of which is intoned by Death?’

And from that to Debussy’s Prélude à l’après-midi d’un faune – a work perpetually poised on the threshold of what the French call ‘le petit mort’ – may not be such a big step after all. All this from a lutenist’s warm-up .