Winnetou Melodie Original

Just For You 2 -- Giovanni Marradi...

Les Feuilles Mortes - Live From Lake Las Vegas Resort, USA / 2006

Historia de un Amor

Historia de un Amor

5,793,980 views  Feb 21, 2017  Provided to YouTube by RCA Records Label

Historia de un Amor · Guadalupe Pineda

Con los Tríos del Siglo

℗ 2000 BMG Entertainment Mexico, S.A.

Released on: 2010-02-23

Arranger: Héctor González

Composer, Lyricist: Carlos Eleta Almarán

Associated  Performer: Los Tres Ases

Unknown, Producer: Tino Geiser

Auto-generated by YouTube.

Chopin: Piano Concerto No. 1 | Martha Argerich, Sinfonia Varsovia Orchestra

2,564,364 views  May 15, 2021  Martha Argerich (piano) plays Frédéric Chopin’s Piano Concerto No. 1 in E minor, Op. 11 with the Sinfonia Varsovia Orchestra, conducted by Jacek Kaspszyk. The concert was performed on August 27, 2010 at the Warsaw Philharmonic Concert Hall.

Frédéric Chopin (1810-1849) composed his first piano concerto in 1830. At the time, he was still living in his native Poland and was just 20 years old. The premier of Piano Concerto No. 1 took place in October of the same year at Warsaw’s National Theater, with Chopin himself playing the challenging piano part.

Chopin’s Piano Concerto No. 1, Op. 11 was popular with audiences from the very beginning. But it also had its critics, who complained that the orchestra was only given a supporting role to the piano, which was the star of the show. And it is true that the orchestra serves merely to add atmosphere to the piano as the main part. Chopin based the piano part on the Belcanto singing of Italian operas. That’s where the many decorative artistic details come from. The musical motifs of Piano Concerto Op. 11 are based on many traditional Polish melodies. That makes the concert very memorable. It is also very romantic in character.

Almost all great piano virtuosos have played Frédéric Chopin’s first Piano Concerto. Martha Argerich, for example, performed and even recorded it many times. To everyone’s surprise, Argerich discovered new facets of the concerto each time she performed it. This is of course thanks to her virtuosity as a piano performer but also due to her temperament and her surprising spontaneity.

Martha Argerich plays Chopin’s Piano Concerto No. 1: The tried and tested combination for audiences to enjoy a wonderfully romantic concert!

(00:00) I. Allegro maestoso

(20:53) II. Romanze – Larghetto

(30:46) III. Rondo – Vivace

© Idéale Audience (https://www.ideale-audience.com) 

Mozart: Symphony No. 41 Jupiter | Hartmut Haenchen & Carl Philipp Emanue...

Mozart: Symphony No. 41 Jupiter | Hartmut Haenchen & Carl Philipp Emanuel Bach Chamber Orchestra

316,498 views Apr 9, 2022 It is a masterly interpretation of a divine symphony: The Jupiter Symphony (Symphony No. 41 in C major, K. 551) by Wolfgang Amadeus Mozart, played here by the Carl Philipp Emanuel Bach Chamber Orchestra conducted by Hartmut Haenchen. The symphonic classic was performed at the Konzerthaus Berlin in 2005 as part of a Mozart evening. What is special about this particular interpretation is the reduced size of the ensemble, as a result of which the diverse characteristics of Mozart’s symphony vividly emerge. (00:00) I. Allegro vivace (11:15) II. Andante cantabile (19:13) III. Menuetto. Allegretto-Trio (22:53) IV. Finale. Molto allegro Symphony No. 41 by Wolfgang Amadeus Mozart (1756 - 1791) only posthumously received the emblematic epithet ‘Jupiter’. The name started to appear in concert programs in England more than 30 years after its composition and was considered so fitting that soon people spoke only of Mozart’s Jupiter Symphony. The combination of the supreme Roman god Jupiter with Mozart’s radiant and clear musical language is considered an excellent fit to this day. Mozart completed the composition of his Symphony in C major in August 1788. Depending on how they are counted, it is the last of Mozart’s 41 symphonies. Its genesis is connected with two other symphonies: Mozart had written three symphonies of very different character in just six weeks in the summer of 1788. While Mozart himself actually saw himself as an opera composer, he had probably only composed the symphonies because he once again needed money for his less than modest lifestyle. It is all the more astonishing that all three symphonies are still among the highlights of classical music today, and the Jupiter Symphony in particular is considered the pinnacle of Mozart’s instrumental music. Mozart’s perfectly formed and at the same time playful handling of the themes is universally admired, and the clarity of the structure is regarded as the epitome of musical beauty. The final movement of the 41st Symphony is unusual in that its outward form reveals a sonata scheme with exposition, development, recapitulation and coda, but its inner structure is a fugue with five themes. The themes each have a very different character, so that their mutual interplay seems like a comedic performance. Because of the dense counterpoint of the fourth movement, Mozart’s Symphony No. 41 has even been called the ‘symphony with the final fugue’.

The Invisible Force: Wind

by Maureen Buja, Interlude

The elements of nature frequently are represented in music: water, snow, and, of course, wind. We looked at a number of different works that might, literally, blow us away. We never see the wind but only the effect of the wind. Composers give us the added dimension of being able to hear the wind.

In Lully’s 1674 opera Alceste, which tells the story of the Queen of Thessaly, Alceste, who has been abducted by the King of Scyros, together with the help of a sea nymphs and Aeolus, the god of winds. The North Wind is summoned to create a violent storm to help the kidnapper get away by sea and arrives with a swoosh.

Following this, the god Éole intervenes to calm the storm by sending the gentle West Wind to disperse the violent North Wind.

Lully: Alceste: The gods, the mortals, and the winds, 1708 (score, Paris, 2nd edition)

One of the common ways to show the winds was to combine them with a storm – we hear this in Vivaldi’s Four Seasons and in Justin Heinrich Knecht’s orchestral work Le portrait musical de la nature (The Musical Portrait of Nature). Written in 1784–85 as a pastoral symphony, the symphony ends the second movement with a gathering of storm clouds and it is in the third movement that the storm breaks, with the wind whistling through the trees, and rain descending in torrents.

For Debussy, in his Préludes, Book 1, the West Wind is violent and savage. Moved from its piano original to the orchestra, the work seems to grow in stature. The title, Ce qu’a vu le vent d’ouest, makes us imagine just what is the West Wind bring with it: a storm and rain beat against a cliff. Nature is unleashed and all we can do is endure.

Storm

The French composer Tristan Murail picks up from Debussy’s vision of the west wind and gives us Dernières nouvelles du vent d’ouest (Latest News from the West Wind). The West Wind strikes France in Normandy and the news it carries from across the Atlantic isn’t always the best.

The Wind in Brittany

French composer Philippe Chamouard sought inspiration for the 1997 work Poème du vent (The Poem of the Wind) in a poem by Oshikhoshi Mitsume, which contrasts the scarlet leaves that are blowing in the wind with the image in the still water of the leaves still on the tree. The music makes the leaves fall downward to float away on the mirroring water.

Red leaves in water

Some composers don’t focus on one wind but invoke the wind from all directions. In his guitar work Si le jour parait… (If The Day Seems…), North African composer Maurice Ohana gives Jeu des quatre vents, the game of the four winds. He also pays tribute to Debussy’s piece to the west wind, by instructing the performer with these directions: Animé, tumultueux, commencez un peu au-dessous du mouvement (Animated, tumultuous, begin a little below the tempo), the same words used by Debussy in his score.

In the fifth of his Six Sonnets for violin and piano from 1922, Catalan composer Eduardo Toldrà invokes a sonnet by the poet Padre Antonio Navarro in his Dels quatre vents (Of the Four Winds). At the beginning of the score, Toldrà gives us the 14-line sonnet that inspired him (‘Dia fervent d’agost era aquell dia…’) invoking a hot day in August, under a serene blue sky, with cicadas singing and two white doves overhead.

The winds blow, sometimes violently and sometimes gently, but always invisibly. We can only see the effect of the wind, not the wind itself.