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Classical music [Youtube Clips]
- Thread starter ihno
- Start date
Wild
Have been listening to Prokofiev's Symphony No. 3 since my college days. It's a great way to celebrate Halloween. Based on P's failed opera The Fiery Angel (mid-1920s), though there are current performances that are fascinating to say the least. The counterpoint here is strangely wonderful---all kinds of thematic material interwoven in odd ways. It's definitely not "neo" anything (i.e., not derivative or retrospective)---definitely not "backwards-looking Bachism" (P's critique of Stravinsky's "neoclassical" forays).
Thanks, Ihno, for the history lesson on Mendelssohn. I am in awe of many of his works---Midsummer, the Reformation Symphony and the Italian Symphony among them, of course. The coming-of-age
sports flick Breaking Away introduced me to the latter. As a former organist, I am also pretty thrilled with his organ sonatas. I believe Felix played a private (command?) performance for Victoria & Albert on a medium-sized pipe organ in Buckingham Palace. Not sure if the instrument is still there or not. Evidently, and much to my surprise, Prince Albert was also an organist. I have no clue how well he could play.
Have been listening to Prokofiev's Symphony No. 3 since my college days. It's a great way to celebrate Halloween. Based on P's failed opera The Fiery Angel (mid-1920s), though there are current performances that are fascinating to say the least. The counterpoint here is strangely wonderful---all kinds of thematic material interwoven in odd ways. It's definitely not "neo" anything (i.e., not derivative or retrospective)---definitely not "backwards-looking Bachism" (P's critique of Stravinsky's "neoclassical" forays).
Thanks, Ihno, for the history lesson on Mendelssohn. I am in awe of many of his works---Midsummer, the Reformation Symphony and the Italian Symphony among them, of course. The coming-of-age
sports flick Breaking Away introduced me to the latter. As a former organist, I am also pretty thrilled with his organ sonatas. I believe Felix played a private (command?) performance for Victoria & Albert on a medium-sized pipe organ in Buckingham Palace. Not sure if the instrument is still there or not. Evidently, and much to my surprise, Prince Albert was also an organist. I have no clue how well he could play.Hello, I am new to this site and hence to this thread...
I hope I am not posting something which has been already
I find this is a very good version of Dvorak's serenade op. 44. My preferred version is by the Professorum Conservatorii Pragensis Societas Cameralis, but unfortunately it is not on Youtube. (I only have it on a Supraphon LP release, SUA 10326 probably from 1953 which must be hard to find now.)
http://www.youtube.com/watch?v=bS5Sg-sDi9Q
Enjoy!
I hope I am not posting something which has been already
I find this is a very good version of Dvorak's serenade op. 44. My preferred version is by the Professorum Conservatorii Pragensis Societas Cameralis, but unfortunately it is not on Youtube. (I only have it on a Supraphon LP release, SUA 10326 probably from 1953 which must be hard to find now.)
http://www.youtube.com/watch?v=bS5Sg-sDi9Q
Enjoy!
sammyyummy
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i listen to mozart when i study; not sure if it does add to my cognitive ability but it helps me concentrate plus i dont end up singing than studying
trencherman
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This is a great thread. Who would have expected to a find such a gem in a site that people primarily go to for smut. I think this is in a better league than the serious discussions about antiques that one frequently overhears in leather bars.
knoedelknak
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I personally like two steps from hell, it's clasic music with a new twist (actually it's trailer music but i like it anyway )
Here's a vid:
http://anon.projectarchive.net/?http://www.youtube.com/watch?v=WZz9mvCcyPk
)Here's a vid:
http://anon.projectarchive.net/?http://www.youtube.com/watch?v=WZz9mvCcyPk
Last edited by a moderator:
Schumann's violin concerto
I would like to share with you the first two recorded versions of this concerto, which luckily are available on Youtube.
The history of Schumann's violin concerto is quite strange: ihno had introduced it in
http://www.gayheaven.org/showpost.php?p=1449579&postcount=476
but without giving details so let me add a few here. I hope I won't bore you too much...
Schumann wrote it in September/October 1853, a few months before his attempted suicide by jumping in the Rhine in February 1854. (Although the reality of this attempted suicide seems to be questioned now.) He met Johannes Brahms early October 1853, and completed the concerto just at this time. So Schumann's violin concerto is intimately connected to his encounter with Brahms.
He dedicated it to his friend Joseph Joachim, the famous violinist. Joachim never performed it in public, deposited the manuscript with the Prussian State Library in Berlin, and stated in his will (he died in 1907) that the work should be neither played nor published until 100 years after Schumann's death, i.e. until 1956.
The reasons for this are not completely clear. It seems Joachim was not happy with some technical details, although a Youtube user writes:
The English edition of his letters, published before the first world war, has more than one written to Schumann, indicating that a) he had played the work more than once (presumably run-throughs), and had decided on his tempo for the polonaise finale and b) he liked it.
It seems that Clara Schumann and Brahms were involved in the decision. The notice of my CD recording says: The three people who were closest to Schumann just before his attempted death were no longer able to understand his music. They felt the Violin Concerto was a poor composition, in which his mental state was evident. Joseph Joachim only played the work once for Schumann in private performance (...).
The story of the early release of the concerto (re. Joachim's will) is even stranger. According to Wikipedia:
in March 1933, during a spiritualist séance in London attended by Joachim's two grand-nieces, the sister violinists Jelly d'Arányi and Adila Fachiri, a spirit-voice identifying himself as Robert Schumann requested Miss d'Aranyi to recover an unpublished work of his (of which she claimed to have no knowledge) and to perform it. In a second message, this time from the spirit of Joachim, they were directed to the Prussian State Library.
The notice of my CD says less romantically: In 1937, a great-niece of Joachim's gave the music publishers B. Schott's Söhne permission to publish the work before the hundred years had elapsed.
Wikipedia takes up from there and says: [Schott] sent a copy of the score to Yehudi Menuhin asking for an opinion. He played it through with Hephzibah Menuhin, and reported to the conductor Vladimir Golschmann in July 1937 that it was the historically missing link of the violin literature. Menuhin planned to deliver the world premiere at San Francisco, and announced it for 3 October, but was interrupted by the appearance of Jelly d'Aranyi, who claimed the right of first performance for herself on the basis of the spiritualist messages.
However, Nazi Germany was in no mood that either Menuhin or d'Aranyi, who both were Jewish, should give the first performance of this concerto, even less outside Germany. So they decided to let it be performed by Georg Kulenkampff, a great and unfortunately forgotten German violinist. My CD notice says:
The joint verdict of Joseph Joachim, Clara Schumann and Brahms still carried weight. On the one hand, there were sound reasons to add a German violin concerto to the concert repertoire, which the political situation in Germany had curtailed somewhat. (ihno was less pudical about this in his recent post!) But on the other hand, any such work was of course not allowed to show any of those tendencies generally agreed to be "unhealthy". This meant that a revised version was called for.
The official editor was Georg Schünemann, but the real one was Paul Hindemith, who was in exile in Switzerland as a "degenerate" composer. Either one, or both, added some virtuoso lines and some transpositions with the obvious intention that no offence would be caused by the composer's melancholy (my CD notice).
Now I enclose the two versions: the one by Kulenkampff and the one by Menuhin. The first one is based on the modified score, but the second one is based on the original score.
They were posted on Youtube by the same person, who even created a comparative recording asking listeners which version they prefer. Personally I feel it is very difficult to choose between these two beautiful and very different versions. The transpositions in the Kulenkampff/Schmidt-Isserstedt recording are a bit destabilizing, but there is a depth of understanding and an inherent poetry which transcends this detail. The vigour and almost enthousiasm in the Menuhin/Barbirolli recording also took me by surprise, but the smooth and straight line of Menuhin's violin is just as beautiful. This version also seems to capture some of the darker sides of the concerto, and in the second part of the first movement I was gripped to tears.
One word on Kulenkampff (1898 - 1948). He was one of the best-known virtuosi in Germany in the 1930-1940es. He stayed and performed in Nazi Germany without adhering to the ideology, until the pressure was too strong and he exiled himself to Switzerland in 1944. To my total surprise, he had the courage to perform Mendelssohn's violin concerto during this period, and recorded it, also with Hans Schmidt-Isserstedt. The recording is also available on Youtube and I might post it another time. He died of encephalitis when he was 50, in 1948. It has to be said that he was quite arrogant about his premiere performance of Schumann's concerto and the changes made to the score. If you read German, you can look at his letter to Carl Flesch in the dedicated Wikipedia page.
Unfortunately the two recordings (Kulenkampff and Menuhin) are in 4 parts, so I apologize for the very long post!
Georg Kulenkampff - Hans Schmidt-Isserstedt, Berliner Philharmoniker, 20 December 1937:
Yehudi Menuhin - Sir John Barbirolli, New York Philharmonic, 1938:
I would like to share with you the first two recorded versions of this concerto, which luckily are available on Youtube.
The history of Schumann's violin concerto is quite strange: ihno had introduced it in
http://www.gayheaven.org/showpost.php?p=1449579&postcount=476
but without giving details so let me add a few here. I hope I won't bore you too much...
Schumann wrote it in September/October 1853, a few months before his attempted suicide by jumping in the Rhine in February 1854. (Although the reality of this attempted suicide seems to be questioned now.) He met Johannes Brahms early October 1853, and completed the concerto just at this time. So Schumann's violin concerto is intimately connected to his encounter with Brahms.
He dedicated it to his friend Joseph Joachim, the famous violinist. Joachim never performed it in public, deposited the manuscript with the Prussian State Library in Berlin, and stated in his will (he died in 1907) that the work should be neither played nor published until 100 years after Schumann's death, i.e. until 1956.
The reasons for this are not completely clear. It seems Joachim was not happy with some technical details, although a Youtube user writes:
The English edition of his letters, published before the first world war, has more than one written to Schumann, indicating that a) he had played the work more than once (presumably run-throughs), and had decided on his tempo for the polonaise finale and b) he liked it.
It seems that Clara Schumann and Brahms were involved in the decision. The notice of my CD recording says: The three people who were closest to Schumann just before his attempted death were no longer able to understand his music. They felt the Violin Concerto was a poor composition, in which his mental state was evident. Joseph Joachim only played the work once for Schumann in private performance (...).
The story of the early release of the concerto (re. Joachim's will) is even stranger. According to Wikipedia:
in March 1933, during a spiritualist séance in London attended by Joachim's two grand-nieces, the sister violinists Jelly d'Arányi and Adila Fachiri, a spirit-voice identifying himself as Robert Schumann requested Miss d'Aranyi to recover an unpublished work of his (of which she claimed to have no knowledge) and to perform it. In a second message, this time from the spirit of Joachim, they were directed to the Prussian State Library.
The notice of my CD says less romantically: In 1937, a great-niece of Joachim's gave the music publishers B. Schott's Söhne permission to publish the work before the hundred years had elapsed.
Wikipedia takes up from there and says: [Schott] sent a copy of the score to Yehudi Menuhin asking for an opinion. He played it through with Hephzibah Menuhin, and reported to the conductor Vladimir Golschmann in July 1937 that it was the historically missing link of the violin literature. Menuhin planned to deliver the world premiere at San Francisco, and announced it for 3 October, but was interrupted by the appearance of Jelly d'Aranyi, who claimed the right of first performance for herself on the basis of the spiritualist messages.
However, Nazi Germany was in no mood that either Menuhin or d'Aranyi, who both were Jewish, should give the first performance of this concerto, even less outside Germany. So they decided to let it be performed by Georg Kulenkampff, a great and unfortunately forgotten German violinist. My CD notice says:
The joint verdict of Joseph Joachim, Clara Schumann and Brahms still carried weight. On the one hand, there were sound reasons to add a German violin concerto to the concert repertoire, which the political situation in Germany had curtailed somewhat. (ihno was less pudical about this in his recent post!) But on the other hand, any such work was of course not allowed to show any of those tendencies generally agreed to be "unhealthy". This meant that a revised version was called for.
The official editor was Georg Schünemann, but the real one was Paul Hindemith, who was in exile in Switzerland as a "degenerate" composer. Either one, or both, added some virtuoso lines and some transpositions with the obvious intention that no offence would be caused by the composer's melancholy (my CD notice).
Now I enclose the two versions: the one by Kulenkampff and the one by Menuhin. The first one is based on the modified score, but the second one is based on the original score.
They were posted on Youtube by the same person, who even created a comparative recording asking listeners which version they prefer. Personally I feel it is very difficult to choose between these two beautiful and very different versions. The transpositions in the Kulenkampff/Schmidt-Isserstedt recording are a bit destabilizing, but there is a depth of understanding and an inherent poetry which transcends this detail. The vigour and almost enthousiasm in the Menuhin/Barbirolli recording also took me by surprise, but the smooth and straight line of Menuhin's violin is just as beautiful. This version also seems to capture some of the darker sides of the concerto, and in the second part of the first movement I was gripped to tears.
One word on Kulenkampff (1898 - 1948). He was one of the best-known virtuosi in Germany in the 1930-1940es. He stayed and performed in Nazi Germany without adhering to the ideology, until the pressure was too strong and he exiled himself to Switzerland in 1944. To my total surprise, he had the courage to perform Mendelssohn's violin concerto during this period, and recorded it, also with Hans Schmidt-Isserstedt. The recording is also available on Youtube and I might post it another time. He died of encephalitis when he was 50, in 1948. It has to be said that he was quite arrogant about his premiere performance of Schumann's concerto and the changes made to the score. If you read German, you can look at his letter to Carl Flesch in the dedicated Wikipedia page.
Unfortunately the two recordings (Kulenkampff and Menuhin) are in 4 parts, so I apologize for the very long post!
Georg Kulenkampff - Hans Schmidt-Isserstedt, Berliner Philharmoniker, 20 December 1937:
Yehudi Menuhin - Sir John Barbirolli, New York Philharmonic, 1938:
One of my greatest joys is listening to the Celtic Symphony by unknown British composer Sir Granville Bantock. It is a work seldom played in public because it requires no less than six harps and a very large orchestra. There is a a youtube recording, so give it a try if you like to investigate something new - I think you might like it:
http://youtu.be/UKYvGBjGAW0
http://youtu.be/UKYvGBjGAW0
Tjerk12
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It is not my intention to torture you with some talent show rubbish, but I think that this little girl has an amazing talent -and voice-!
Be surprised by Amira, 9 years old and, this is not play-back, but really her voice.
Be surprised by Amira, 9 years old and, this is not play-back, but really her voice.
bigsal
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Amazing and delicious.
I think that in the future hear more about of Amira.
Thanks for sharing Tjerk.
The Firebird Suite by Stravinsky is awesome: http://www.youtube.com/watch?v=LGnsqTDY9Tw
As is Faure's Requiem: http://www.youtube.com/watch?v=UnilUPXmipM
Though honestly I have yet to hear a Requiem I didn't like.
As is Faure's Requiem: http://www.youtube.com/watch?v=UnilUPXmipM
Though honestly I have yet to hear a Requiem I didn't like.
sensual and ethereal
Jordi Savall's La Capella Reial de Catalunya with Le Concert des Nations performing Bach's B Minor Mass. The setting is Fontfroide Abbey, a privately owned artistic venue today but formerly a Cistercian monastery founded in 1093 near Narbonne, France, and the Spanish border.
Jordi Savall's La Capella Reial de Catalunya with Le Concert des Nations performing Bach's B Minor Mass. The setting is Fontfroide Abbey, a privately owned artistic venue today but formerly a Cistercian monastery founded in 1093 near Narbonne, France, and the Spanish border.
Wonderful. Thanks, jjjack.
Bach to business...
Imagine you could meet all great british composers of all times and history? What would you say to them? "How do you do, you two?" :butslap:
Here is one of the two:
Edward Elgar, Symphony No. 2, 1rd Mov, conducted by Edward Elgar in 1927, with the LSO.
Edward Elgar, Symphony No. 2, 1rd Mov, conducted by Edward Elgar in 1927, with the LSO.
Both symphonies are played regularily, maybe that's because he has used only one harp.
Imagine you could meet all great british composers of all times and history? What would you say to them? "How do you do, you two?" :butslap:
Here is one of the two:
Edward Elgar, Symphony No. 2, 1rd Mov, conducted by Edward Elgar in 1927, with the LSO.
Edward Elgar, Symphony No. 2, 1rd Mov, conducted by Edward Elgar in 1927, with the LSO.
Both symphonies are played regularily, maybe that's because he has used only one harp.