Music video by Jackie Evancho performing The Music of the Night. (C) 2012 Columbia Records, a Division of Sony Music Entertainment
Wednesday, February 7, 2024
'Concerto Ottimo' breaks traditional classical concerts
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February 8, 2024
Get ready to be transported into a world of exhilaration as Enlightened Events presents "Concerto Ottimo," an electrifying and uplifting classical concert.
It is set to happen on March 22, 6 to 8 p.m., at the Carlos P. Romulo Auditorium in RCBC Plaza, Makati.
The event promises to be an unforgettable musical journey that will leave the audience exhilarated and inspired. Concerto Ottimo will be a fast-paced, lively and joyously uplifting concert.
The concert will feature The Manila Symphony Orchestra under the baton of maestro Marlon Chen.
Concerto Ottimo will be a celebration of classical music in the way it is used to influence popular culture. From iconic movie soundtracks, to acoustic versions of infamous chart topping hits, the concert will give a performance only an orchestra can deliver.
The concert will feature The Manila Symphony Orchestra (MSO), under the baton of the renowned maestro Marlon Chen, who will perform a selection of chart hits, iconic soundtracks and classical favorites.
Get ready to hear a full orchestra play the iconic "James Bond" and "Mission Impossible" themes, the legendary "Bohemian Rhapsody" by Queen and "Never Enough" from "The Greatest Showman," along with the all-time classics such as "Nessun Dorma" and "The Blue Danube," among many others.
Also, exceptional soloists — budding musical theater artist and classical singer Anya Evangelista, young tenor Ralf Adrian, and the talented Jenny Sugar — will take the stage to perform some of the most challenging and thrilling pieces in the classical repertoire.
Finally, unlike traditional classical concerts, "Concerto Ottimo" keeps the energy high and the tempo brisk.
Don't miss this unique opportunity to experience classical music in a new and thrilling way.
Tickets are available now at Ticketbooth.ph.
Tuesday, February 6, 2024
Debussy Arabesque No.1 - Inga Fiolia
The famous #Debussy Arabesque no.1 - played by Inga Fiolia at the Trinitatis Church Cologne
A multiple prizewinner of international competitions and described in the international press as a “poet on the piano with remarkable maturity”, German-Georgian pianist Inga Fiolia has a bright future. Since giving her first performance with an orchestra at the age of seven, she has shown a phenomenal ability as a soloist, accompanist and interpreter of a wide variety of styles, from the Baroque to the 21st century compositions.
Inga Fiolia studied at the Central Music School of Tchaikovsky Conservatory in Moscow and the Cologne Musikhochschule with Alexey Nasedkin, Rudolf Kehrer and Vassily Lobanov. She is the youngest follower of the Neuhaus piano tradition, which included Sviatoslav Richter and Emil Gilels.
As a soloist she has collaborated with orchestras including the Brandenburg State Opera Philharmonic (Mendelssohn Concerto No. 1), the Brussels Philharmonic (Rachmaninov Concerto No.2), the Georgian State Chamber Orchestra (Bach No. 5) and National Philharmonic (Haydn D major, Beethoven No. 1), the Bergische Symphoniker and the South Westphalia Philharmonic (Liszt No.2). She received the Solti Award and German Piano Magazine´s “Piano News prize” and has also performed for major TV and radio stations including ZDF, ARTE, Classica TV, SWR, Deutschlandradio, WDR, as well as on Georgian TV. Her performance of Scriabin’s Preludes and Mendelssohn’s Piano Concerto was released on the DVD “Stars of tomorrow, presented by Rolando Villazon” (Unitel Classica, 2015). She released two recordings of Mikhail Glinka´s piano works: “Piano Variations” (2017), “Dances” (2018) and Sulkhan Tsintsadze´s “24 Preludes” (2019) on Naxos´ Lable Grand Piano. In 2019 she made her U.S Debut at Lincoln Center in New York, a Debut at the Klavierfestival Ruhr with works by Ravel, Debussy (CD Edition Klavierfestival Ruhr), Schubert and Glinka and has performed Chopin´s 1. Piano Concerto with the Cologne Chamber Orchestra. In 2020 she made her reloaded arrangements of Beethoven‘s best Piano pieces, that were premiered and recorded live at Ruhr Piano Festival with the Sting‘s percussionist Rhani Krija (Album Release in 2022).
Jackie Evancho - Both Sides Now (Official Video)
757,839 views Premiered Jun 17, 2022
Performed by Jackie Evancho
Monday, February 5, 2024
Barbra Streisand, Céline Dion - Tell Him (Official Remastered HD Video)
66,718,998 views • Jul 31, 2020 • #TellHim #CelineDion #LetsTalkAboutLove
Westlife - When You Tell Me That You Love Me (Official Video)
Sunday, February 4, 2024
I Wanna Grow Old With You - Westlife
Always On My Mind - Willie Nelson (Elvis) - (Connie Talbot)
Hi guys, Thank you for watching.
This was such an emotional song to sing. This song was a karaoke favourite of a very special person, my Uncle who sadly passed recently. So this one Is for you Rich.
Forever, "Always On My Mind"... xox
Gheorghe Zamfir - The Lonely Shepherd
13 Songs From The 60s You Forgot Were Awesome
Saturday, February 3, 2024
Georg Philipp Telemann - his music and his life
Georg Philipp Telemann, (born March 14, 1681, Magdeburg, Brandenburg [Germany]—died June 25, 1767, Hamburg), German composer of the late Baroque period, who wrote both sacred and secular music but was most admired for his church compositions, which ranged from small cantatas to large-scale works for soloists, chorus, and orchestra.
Telemann was the son of a Protestant minister and was given a good general education but never actually received music lessons. Though he showed great musical gifts at an early age, he was discouraged by his family from becoming a professional musician, at that time neither an attractive nor a remunerative occupation. By self-teaching, however, he acquired great facility in composing and in playing such diverse musical instruments as the violin, recorder, oboe, viola da gamba, chalumeau, and clavier. In 1701 he enrolled at the University of Leipzig as a law student, but musical activities soon prevailed and were to engross him for the rest of his life.
Leipzig became the stepping-stone for Telemann’s musical career. The municipal authorities there realized that, apart from his musical gifts, the young firebrand possessed extraordinary energy, diligence, and a talent for organization. They commissioned him to assist the organist of the Thomaskirche, Johann Kuhnau, by composing church cantatas for alternate Sundays, and also gave him a position as organist at the university chapel, Neuenkirche. Telemann reorganized the collegium musicum, the student musical society, into an efficient amateur orchestra that gave public concerts (then a novelty) and became director of the Leipzig Opera, for which he also composed. Telemann’s next positions were at two princely courts: first as kapellmeister (conductor of the court orchestra) in Sorau (now Żary, Poland; 1705–08), then as concertmaster (first violinist) and later kapellmeister in Eisenach (1708–12). By playing, conducting, studying, and composing he gained the musical knowledge, practical experience, and facility in composing that were to be vital when he assumed the musical directorship of Frankfurt am Main (1712–21) and Hamburg (1721–67). In Frankfurt he was musical director of two churches and in charge of the town’s official music. As in Leipzig, he reorganized the students’ collegium musicum and gave public concerts with the group. In Frankfurt Telemann started publishing music that made him famous not only in Germany but also abroad. As musical director of Hamburg, one of the outstanding musical positions of the time, he supplied the five main churches with music, was in charge of the Hamburg Opera, and served as cantor at Hamburg’s renowned humanistic school, the Johanneum, where he also was an instructor in music. In Hamburg, too, he directed a collegium musicum and presented public concerts. In 1729 he refused a call to organize a German orchestra at the Russian court. He had also declined an offer in 1722 from municipal authorities in Leipzig to succeed Kuhnau as organist of the Thomaskirche. This proffered position, which had been promised him 17 years earlier by authorities in the event of Kuhnau’s death, manifested the high esteem in which even the young Telemann was held. (Following Telemann’s refusal, the position fell to Johann Sebastian Bach.) In addition to all his activities in Hamburg, he also supplied (by contract) the courts of Eisenach and Bayreuth, as well as the town of Frankfurt, with music and continued to publish his compositions.
master of the principal styles of his time—German, Italian, and French—he could write with ease and fluency in any of them and often absorbed influences of Polish and English music. He composed equally as well for the church as for opera and concerts. His music was natural in melody, bold in harmonies, buoyant in rhythm, and beautifully orchestrated. Profound or witty, serious or light, it never lacked quality or variety. Telemann’s printed compositions number more than 50 opuses, among them (counting each as one item) the famous collection Musique de table (published in 1733; containing three orchestral suites, three concerti, three quartets, three trios, and three sonatas); the first music periodical, Der getreue Music-Meister (1728–29; containing 70 compositions); Der harmonische Gottesdienst (1725–26; 72 church cantatas); and 36 fantasias for harpsichord.
Except for a brief journey to France (1737–38), where he was enthusiastically received, Telemann never left Germany. He married twice and had eight sons and three daughters. His first wife died young in childbirth; his second wife absconded with a Swedish officer, leaving Telemann with a debt of 3,000 taler. Apart from being a prolific composer, he was also a keen writer; his two autobiographies of 1718 and 1739 are comparatively well documented. He published a long poem after his first wife’s death, and many words in his vocal compositions came from his own pen. Especially noteworthy are Telemann’s many prefaces to collections of his music, which contain a great amount of practical advice on how his compositions (as well as those of his contemporaries) should be performed. A friend of Bach and Handel, he was godfather to Bach’s son Carl Philipp Emanuel, who succeeded as musical director of Hamburg after Telemann’s death at the age of 86.
G.P. Telemann - Wassermusik 《Hamburger Ebb' und Fluth》
Georg Philipp Telemann (1681-1767)
Ouvertüre-Suite in C-dur, TWV 55:C3 [1723]
《Hamburger Ebb' und Fluth》 wassermusik
I. Ouvertüre - 00:00
II. Sarabande: "Die schlafende Thetis" - 06:29
III. Bourrée: "Die erwachende Thetis" - 09:15
IV. Loure: "Der verliebte Neptunus" - 11:22
V. Gavotte: "Spielende Najaden" - 13:06
VI. Harlequinade: - 13:54
"Der schertzende Tritonus"
VII. Tempête: "Der stürmende Aeolus" - 15:05
VIII. Menuett: "Der angenehme Zephir" - 16:16
IX. Gigue: "Ebbe und Fluth" - 18:16
X. Canarie: "Die lustigen Boots Leute" - 19:31
The New Baroque Company [South Korea]
Red Dot Baroque [Singapore]
The Gleam Ensemble [Taiwan]
Toni Braxton - Un-break My Heart (1999) Live | 4K
Sukiyaki (Kyu Sakamoto) - "We'll meet again" Orchestra Project
Vienna Hall, Fuchu Forest Art Theater, Tokyo in September 2020
We filmed this video against the background of empty auditorium, to document the "current state" of young musicians and in hope to see many of you in the concert hall again.
We recorded performances by one or two players, and this video is made by layering them.
Filming was done keeping social distancing and proper safety procedures in mind.
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