Joseph Haydn / Symphony No. 73 in D major "La chasse" (Harnoncourt)

Franz Joseph Haydn (1732-1809) Symphony No. 73 in D major "La chasse", Hob. I:73 (1782) 00:00 - Adagio - Allegro 09:16 - Andante 14:15 - Menuet & Trio 18:24 - [La chasse] Presto Concentus Musicus Wien, dir. Nikolaus Harnoncourt (1994) Painting: Releasing the Hounds [detail], John Wootton

Last Words and Cause of Death of Famous Composers

0:00 Viderunt Omnes 0:54 King Henry VIII: Pastime With Good Company 2:02 Jean-Baptiste Lully: Armide Overture 3:36 Ludwig van Beethoven: Symphony No. 9, I. Allegro ma non troppo, un poco maestoso Disclaimer: This list may not contain all of the composers. The information may also be misleading or not recorded at all, therefore with some of the causes of death being regarded as "unknown".

7 Dynamic YUJA WANG Finales!!

Links to the videos I used: Johann Strauss II:    • Yuja Wang plays Tritsch-Tratsch Polka   Rachmaninoff:    • Yuja Wang: Rachmaninov Piano Concerto...   Ravel: Video Unavailable Gershwin:    • George Gershwin Piano Concerto in F m...   Tchaikovsky:    • Tchaikovsky: Piano Concerto No. 1 - Y...   Bizet: Video Unavailable Mozart: Video Unavailable *No copyright infringement intended* *This video is only for entertainment purpose*

Martha Argerich - Shostakovich Piano Concerto No.1 (2023)

15,464 views Jul 24, 2023

Martha plays Shostakovich Piano Concerto No.1 with Sergei Nakariakov (Trumpet) and Sylvain Gasançon (Cond.) in the second part of the fourth concert of the Festival Argerich, this Saturday July 22nd at Teatro Colón SHOSTAKOVICH PIANO CONCERTO NO.1 IN C MINOR, OP.35 FOR PIANO AND TRUMPET: 0:38 - I: Allegretto 6:49 - II: Lento 14:29 - III: Moderato 16:07 - IV: Allegro con brío 26:50 - Encore: Shostakovich Piano Concerto No.1, IV: Allegro con brío

Salawikain (Danny Javier) - APO Hiking Society performs with a symphony orchestra

5,352 views Jul 31, 2023

Jim Paredes and Boboy Garovillo of the APO Hiking Society were awarded the Excellence in Music Award by the Filipino American Symphony Orchestra for 2023. After being awarded, they graced the audience with a rendition of "Salawikain," a witty song about sayings, while parodying classical music at the same time. They were accompanied by the Filipino American Symphony Orchestra, conducted by Maestro Bob Shroder, at the Walt Disney Concert Hall in Los Angeles. It was arranged and orchestrated by Saunder Choi. This was one of the favorite performances of the concert.

Magnus Lindberg - his music and his life

 

Magnus Lindberg

b. 1958

Magnus Lindberg is one of the most talented European composers of his generation, particularly admired for his orchestral scores * Music is programmed by the world's leading conductors, performing organisations and festivals * Energy, colour and a thrilling density of material are the hallmarks of his recent style, which defines a new classical modernism * Interpreters include Yefim Bronfman, Yuja Wang, Frank Peter Zimmermann, Pekka Kuusisto, Avanti, Ensemble InterContemporain, London Sinfonietta, Philharmonia Orchestra, Los Angeles Philharmonic, Chicago Symphony Orchestra and conductors Salonen, Saraste, Oramo, Lintu, Franck, Rattle, Heras-Casado and Gilbert * Past composer residencies include New York Philharmonic (2009-12), SWR Radio Symphony Orchestra Stuttgart (2011-12) and London Philharmonic Orchestra (2014-17) * Widely recorded on Deutsche Grammophon, Sony, Finlandia, Ondine and other labels

Works by Magnus Lindberg include:
Feria for orchestra (1997)
Fresco for orchestra (1997)
Clarinet Concerto (2001-02)

Looking Ahead: further performances of new Piano Concerto No.3 by Yuja Wang in Paris (13 Apr), Hamburg (5 May), Rome (11 May) and London (25 May) with conductors Klaus Mäkelä, Esa-Pekka Salonen, Mirga Gražinyte-Tyla and François-Xavier Roth; Japanese premiere of Absence in Tokyo (14 Oct)

"...one of the major voices of 21st century composition." — The Times

Yuja Wang Astounds with a Spectacular Premiere: Magnus Lindberg's Piano Concerto No. 3

Join us in witnessing a historic musical event as world-renowned pianist Yuja Wang takes the stage for the world premiere of Magnus Lindberg's Piano Concerto No. 3. Prepare to be mesmerized by Wang's virtuosity as she collaborates with the composer himself, bringing to life Lindberg's masterpiece in a performance that pushes the boundaries of piano music. Experience the fusion of Wang's unparalleled skill and Lindberg's innovative composition in an unforgettable night of musical brilliance. Don't miss this opportunity to witness the birth of a new concerto performed by one of the finest pianists of our time.

Movie Blockbuster Hits - The Maestro & The European Pop Orchestra

00:00 - 02:28 Pirates of the Caribbean 02:29 - 07:09 Greatest Show 07:10 - 10:59 Love of my Life 11:00 - 15:10 Once Upon A Time In The West 15:11 - 21:31 Miserlou

About Guido Dieteren (The Maestro): Guido Dieteren (1974) is an orchestra leader, violin soloist, arranger and composer. He grew up in a special musical Limburg (The Netherlands) family. Guido's great-grandfather, grandfather and father were all conductors and with it his great musical examples. At an early age, Guido established his name as a concertmaster and soloist of various orchestras and then continued his career as a conductor, violinist and soloist with his own orchestra. Since then, he has played successful concert tours throughout Europe, China and North America. During his conservatory study in Maastricht, Guido approached his childhood friend and pop keyboard player Falco Borsboom to compose, arrange and work on a new rousing orchestral production. Guido's Orchestra was born (now known as "The Maestro & The European Pop Orchestra")! Since then, The Maestro & The European Pop Orchestra has experienced many musical highlights. Together with his orchestra, Maestro Guido has provided concerts all over the world, composed and arranged music for commercials (such as McDonald's, Rabobank, WWF, Dela, and AllSecur), played in several international TV shows, released several gold CDs and DVDs, produced large TV specials in all known world languages and performed live for more than 2.7 million visitors. Guido also collaborated as musical director and was involved artistically with many (inter)national artists such as Lionel Richie, Andrea Bocelli, Diana Ross, DJ AfroJack, Simply Red, Caro Emerald, Alessandro Safina, Marco Borsato, Doe Maar, Anouk, Jan Smit, Nick and Simon, Paul de Leeuw and many others. Guido's heart is not only taken by The Maestro & The European Pop Orchestra and his passion for music. No, he also married the orchestra's solo soprano, Wendy Kokkelkoren, in 2006. After the first concert together, the spark caught on and since then, they have been inseparable. Together with their daughters Emma-Sophie and Annabel, Guido and Wendy form a happy musical family. Artistic wishlist in the coming years, new TV Specials and songs will be recorded. The Maestro & The European Pop Orchestra wants to perform in many countries, like: United States, the Netherlands, United Kingdom, Belgium, Spain, Germany, Portugal, Poland, France, Italy, Brazil, South Korea, Philippines, China, Japan, Taiwan.

1st Malacañang concert blends the classic with the unfamiliar

 

It was an evening of Philippine music, delectable, the familiar blending with the unfamiliar, the traditional with the modern. Along the patio, a woman violinist regaled the visitors still lingering outside. And inside, a male pianist played the classic compositions of Abelardo and Santiago, dear to the hearts of mature Filipino concertgoers, before switching to OPM.

Yuja Wang/Through the Years: Ages 8~36

441,459 views Mar 4, 2023

Links to the videos I used: 0:07 Age 8:    • Yuja Wang(8) :Chopin waltz Op.64 No.2   0:43 Age 9:    • Yuja Wang: Debussy Arabesque No 1 in ...   1:19 Age 11:    • Yuja Wang plays Chopin op 66 Fantasie...   2:10 Age 19:    • Yuja Wang chopin ballade 1 (video)   3:01 Age 21:    • Yuja Wang_Rhapsody on a theme by Paga...   4:09 Age 23:    • Yuja Wang - Scriabin, Selections for ...   4:55 Age 24:    • Yuja Wang Toccata Prokofieff ECHO 2011   5:41 Age 27:    • Yuja Wang: Shostakovich Concerto No. ...   6:36 Age 29:    • Yuja Wang @ Carnegie 2016: Beethoven ...   7:30 Age 31:    • Yuja Wang: Brahms Piano Concerto No. ...   8:30 Age 32:    • Yuja Wang ⭐ ♫"Pianokonzert a-Moll Op....   9:34 Age 34:    • Video   10:34 Age 35:    • Video   11:35 Age 36:    • Happy Birthday, Yuja Wang!   *No copyright infringement intended.

Piazzolla Libertango for Two Pianos Vera and Eugene Watanabe

Piazzolla Libertango Vera and Eugene Watanabe Gifted Music School--Salt Lake City. Gala Concert; May 2016

The Merry Widow ballet - finale

136,215 views

The Merry Widow ballet is an exquisite adaptation of Franz Lehar's romantic operetta. The score was adapted by John Lanchbery and Alan Abott, who retained the style of Lehar's orchestration. The ballet was created for The Australian Ballet by Sir Robert Helpmann, with choreography by Ronald Hynd and sumptuous stage decor by Desmond Heeley. In this performance, leading dancers are Steven Heathcote and Lisa Pavane.

Ever Wonder How Musicians Get Orchestral Positions?

by Janet Horvath  

When you attend an orchestra concert you witness wonderful music-making from a singular group of musicians who seemingly play “as one.” If it’s an orchestra of stature some of the players will remain in their positions an entire lifetime—sometimes decades—and they learn to play together in a distinctive style and with uncanny telepathy. The members relate to one another as if they are a family, sharing not only the music, not only touring and traveling together but also important life events. But how does a musician get an orchestra position? Selection is usually based on a rigorous and often daunting audition process. Initially, once the musician wins an audition and signs a contract, he or she undertakes a probationary period of two years. During the trial period, the musician is evaluated for their playing in the larger context of the group as well as whether their temperament and personality are a good fit.

As you can imagine, the competition is fierce. Some of you may not know that each audition specifies repertoire to play, usually a dozen excerpts from the orchestral (or operatic) repertoire. Additionally, each candidate is also required to perform a concerto and a solo piece, usually solo Bach for string players. Like any competition, there are various rounds as each candidate is evaluated, starting with preliminary auditions, and ending with finals when the conductor is usually involved. The auditions are often held on the stage and initially, the candidate will play the first round behind a screen to maintain anonymity.

The committee that selects the candidates is comprised of eight to ten members of the orchestra—representatives of the section in which the opening has become available, and other musicians who are in that family of instruments. In the case of the French horns, it would be other French horn players, other brass musicians, and when the position is a principal position, the concertmaster, and other leading members.

There are exceptions of course. Some orchestras allow a tape recording for the preliminaries, and in the case of the Berlin Philharmonic, all musicians are in on the decision to hire a new player.

How does someone who has taken multiple auditions without a win, keep going and maintain motivation and a positive attitude? It’s important to take advantage of the resources that are available. Before the internet, when I took my auditions in the 1970s and 80s, the only way to get help was to have some lessons from an orchestral player.

One of the best online resources is Rob Knopper’s AuditionHacker.com, a Metropolitan Opera Orchestra member who knows what winning looks like. Rob’s inner circle is a nine-month commitment of Intensive audition coaching. Winning an audition comprises common sense details, persistence, dedication, and deliberate practice. A successful candidate understands that it’s about the process—learning how to perform the same way you do when you practice, to manage your nerves, to be organized, and to achieve the mindset required to play your best in the fifteen or so minutes you have.

If nerves get the better of you, and who among us hasn’t experienced the jitters, I recommend Noa Kageyama and The BulletProofMusician.com. Noa was a violinist plagued by performance anxiety before he became an expert sports psychologist and a faculty member at Juilliard School of Music. His site offers courses that can help.

When I performed my auditions sometimes the music was difficult to acquire. Today there are online resources with not only downloadable sheet music but also recordings of how these standards are typically played. OrchestraExcerpts.com features the standard excerpts by instrument. Music can also be found on IMSLP.

AuditionPlaybook.com offers individual coaching, guidebooks, interviews, and articles, including thoughts on meditation and mindfulness, practice hacks, even suggestions for pivoting to a career in music that isn’t in an orchestra.

Some professionals I know offer weekly virtual meetings to assess your audition preparation, but individuals can reach out to others to play for each other and give feedback. Weekly mock auditions virtual or otherwise are essential to learn what works and what doesn’t in your preparation. Other sites such as Stagetime, a performing arts hub, offers insider tips, advertises current opportunities and openings, and even offers some Audition Travel Stipends.

A successful audition boils down to these elements:

A decisive audition preparation schedule. Make certain you have plenty of lead time to master all the repertoire. Decide well in advance what your solo will be, choosing a work that is “in your fingers.” Avoid trying something new for an audition.

Determine how to play consistently. This will entail challenging yourself to play under varying conditions. Hold mock auditions enlisting your scariest friends, colleagues, or teachers. Tape yourself and listen for unintended variations in tempo or rhythm, unintended interruptions of the line due to breathing, bow changes, or inefficient shifting, and issues with dynamics.

Aim for peak performance. This will include determining what works in your routine that you can control in an audition setting for your body and mind. Choose foolproof fingerings. Make certain you are using standard bowings, tempos, phrasing, and dynamics for each excerpt.

Practice with a metronome. Intonation is of course essential but rhythmic steadiness and accuracy are crucial in an audition.

Study the music making certain you are not missing indications in the score such as dynamics, crescendos, accents, and phrasing, as well as interpretive musical terms. You should play Mozart differently than Strauss; Debussy differently than Brahms, but also a dolce passage differently than a passage marked espressivo; poco marcato differently than lebhaft. When an audition isn’t imminent become familiar with and practice the excerpts that show up at auditions time after time such as Rimsky-Korsakov Scheherazade movement II, K to L for the horns, Mahler Symphony No. 3, the opening of the second movement for the oboe, or Brahms Symphony No. 3 movement III the opening melody for the cellos. 

Do your research. Listen to the excerpts. Where does your line fit in? What can you learn about the style of the orchestra you’re auditioning for? Who is their conductor and what can you glean about his or her approach? Every bit of knowledge will help you.

Most important play musically and try not to get discouraged if you don’t succeed initially. Winning depends on so many factors both internal and external. Whenever you play your best it’s a cause for celebration.