Johann Sebastian Bach — The Greatest Hits

01. Toccata and Fugue in D Minor, BWV 565 0:00:09
Сергей Дижур
02. Orchestral Suite No. 2 in B Minor, BWV 1067: VII. Badinerie 0:09:37
Московский камерный оркестр, Рудольф Баршай
03. Orchestral Suite No. 3 in D Major, BWV 1068: II. Air 0:11:04
Московский камерный оркестр, Рудольф Баршай
04. Orchestral Suite No. 4 in D Major, BWV 1069: IV. Gavotte 0:17:08
Московский камерный оркестр, Рудольф Баршай
05. Sonata No. 1 in B Minor, BWV 1014: II. Allegro 0:18:14
Игорь Ойстрах, Наталья Зерцалова
06. Trio in G Major, BWV 586 0:21:49
Сергей Цацорин
07. Concerto for 2 Harpsichords in C Minor, BWV 1060: I. Allegro 0:25:08
Московский камерный оркестр, Константин Орбелян, Ирина Иванова, Александр Архангельский
08. Harpsichord Concerto No. 5 in F Minor, BWV 1056: II. Largo 0:29:58
Московский камерный оркестр, Константин Орбелян, Карол Розенбергер
09. Orchestral Suite No. 2 in B Minor, BWV 1067: VI. Menuet 0:32:52
Московский камерный оркестр, Рудольф Баршай
10. Sonata No. 4 in C Minor, BWV 1017: I. Largo 0:34:19
Игорь Ойстрах, Наталья Зерцалова
11. Well-Tempered Clavier, Book I, BWV 846: Prelude and Fugue No. 1, in C Major 0:39:39
Андрей Гаврилов
12. Concerto for 3 Harpsichords and Strings in D Minor, BWV 1063: III. Allegro 0:41:37
Московский камерный оркестр, Рудольф Баршай
13. Brandenburg Concerto in G Major, BWV 1048: III. Allegro 0:47:52
Ансамбль скрипачей Большого Театра, Борис Хайкин
14. Sonata No. 2 in A Major, BWV 1015: III. Andante un poco 0:54:22
Игорь Ойстрах, Наталья Зерцалова
15. Harpsichord Concerto No. 5 in F Minor, BWV 1056: I. Allegro moderato 0:58:11
Московский камерный оркестр, Константин Орбелян, Карол Розенбергер
16. Concerto for Flute, Violin and Harpsichord in A Minor, BWV 1044 1:01:35
Московский камерный оркестр, Рудольф Баршай, Сергей Дижур, Куняев Борис, Миранович Леонид
17. Harpsichord Concerto No. 5 in F Minor, BWV 1056: III. Presto 1:11:14
Московский камерный оркестр, Константин Орбелян, Карол Розенбергер

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Provided to YouTube by Warner Classics International

St Matthew Passion, BWV 244, Pt. 1: «Er sprach. Gehet hin in die Stadt» · Nikolaus Harnoncourt · Karl Ridderbusch · Kurt Equiluz

Bach: St Matthew Passion, BWV 244

℗ 1970 TELDEC CLASSICS INTERNATIONAL GMBH

Orchestra: Concentus Musicus Wien
Bass Vocals: Karl Ridderbusch
Tenor Vocals: Kurt Equiluz
Conductor: Nikolaus Harnoncourt
Composer: Johann Sebastian Bach

Auto-generated by YouTube.

J. S. Bach
Monteverdi Choir
English Baroque Soloists
John Eliot Gardiner
Vol. 3 CD 1
Cantatas:
BWV 24 [17:01]
BWV 185 [14:41]
BWV 177 [25:06]
BWV 71 [18:30]
Recorded at Tewkesbury Abbey England

J. S. Bach
Cantatas:
BWV 12 [22:38]
BWV 103 [15:10]
BWV 146 [38:53]
Soprano: Brigitte Geller
Counter-tenor: William Towers
Tenor: Mark Padmore
Bass: Julian Clarkson
Monteverdi Choir
English Baroque Soloists
John Eliot Gardiner
Live recordings from the Bach Cantata Pilgrimage:
Schlosskirche, Altenburg, Germany
Volume 24 CD1
www.bach-cantatas.com/Performers/Gardiner-P24.htm

Watch Nathalie Stutzmann and Orfeo 55 recording Bach aria «Erbarme dich» at Metz Arsenal. This piece features in their album «Une cantate imaginaire» released in 2012. Video by OFF TV.

For more information on this album, please see:
www.nathaliestutzmann.com/en/album/bach-une-cantate-imaginaire-2/

Website of Nathalie Stutzmann:
www.nathaliestutzmann.com

Facebook page of Nathalie Stutzmann:
www.facebook.com/Nathalie.Stutzmann

Website of Orfeo 55:
www.orfeo55.com

From the Chapelle de la Trinité, Château de Fontainebleau,
13th-century Christian hymn to Mary «Stabat Mater» by Giavanni Battista Pergolesi
Subscribe for more content: goo.gl/ZWoSxm

Emöke Barath — soprano
Philippe Jaroussky — contratenor
ORFEO 55
Nathalie Stutzmann — conductor

0:00 Stabat Mater
3:19 «Stabat Mater Dolorosa»
7:15 «Cujus animam gementem»
8:51 «O quam tristis et afflicta»
11:17 «Quae moerebat et dolebat»
13:37 «Quis est homo»—«Pro peccatis suae gentis...»
16:23 «Vidit suum dulcem natum»
19:30 «Eja mater fons amoris»
21:31 «Fac ut ardeat cor meum»
24:13 «Sancta mater, istud agas»
29:42 «Fac ut portem Christi mortem»
33:03 «Inflammatus et accensus»
35:24 «Quando corpus morietur» — «Amen...»

The greatest movements of George Frederic Handels choruses.
(oratorios, anthems, etc)

01. Coronation anthem: Zadok the priest 00:00
02. Samson: Then round about the starry throne 05:24
03. Jephtha: Cherub and Seraphin 07:43
04. Jephtha: How dark oh Lord 11:04
05. Hercules: Jealosuy! Infernal pest 17:55
06. Israel in Egypt: He smote all the first-born 23:44
07. Israel in Egypt: He is my God — And I will exhalt him 26:12
08. Israel in Egypt: Sing ye to the Lord 29:59
09. Semele: Avert these omens, all ye powrs! (german) 33:40
10. Belshazzar: All empires upon God depend (german) 36:23
11. Belshazzar: Oh glorious prince (german) 39:29
12. Belshazzar: I will magnify Thee — Amen (german) 44:57
13. Judas Maccabeus: See the conquring hero comes 50:14
14. Judas Maccabeus: Sing unto God 53:04
15. Funeral anthem: The ways of Zion do mourn 56:08
16. Dixit Dominus: Opening chorus (latin) 01:02:41
17. Solomon: May no rash intruder (Nightingale-chorus) 01:08:42
18. Messiah: For unto us a child is born 01:12:17
19. Messiah: Hallelujah! 01:16:27

Various artists

Provided to YouTube by IDOL

Nocturne in C Sharp Minor, Op. 27 No. 1: «A la Comtesse dAppony» · François Chaplin

Chopin: Nocturnes

℗ 2013 Zig-Zag Territoires
℗ Anima Eterna

Released on: 2010-03-01

Composer: Frédéric Chopin

Auto-generated by YouTube.

Nocturne in E-flat major, Op. 9, No. 2
Played by Vadim Chaimovich (https://www.youtube.com/vadimchaimovich)
FB-Vadim: www.facebook.com/vadimchaimovich
— Instagram
www.instagram.com/andrearomanoandrea

Vincent van Gogh painted The Starry Night one year before dying.
Chopin composed his popular Nocturne when he was about twenty.
it does not matter if you think that it is too late for you or that you still have a lot of time...you have to decide whether you are Chopin or van Gogh.

The idea behind these videos is coming from a research published by the Psychology Department of Berkeley University studying the relation between colors, emotions and how external stimuli are impacting decision making.

The study results demonstrate a strong correlation between faster music in minor tone and the choice from participants of colors from that were saturated, yellower and lighter whereas a slower and minor music produced the opposite pattern (choice of desaturated, darker and bluer colors).

Based on these findings, we wanted to create synesthesia in our videos and trigger more intense and long-lasting emotions in our viewers, get higher audience retention and interaction. We decided to do that by associating drawings from the major painters that were following the scientific findings of this research.
The choice of these paintings and the consecutive association with the music is also based on an accurate work that requires significant time and energy.

The analysis of the melodies returned to us a lot of information on how the painting should have been made. We needed a simple blue pattern but with an intrinsic meaning. Something that people could watch for a while without really understand it.

By creating this video I tried to do only one thing which turned to be the most difficult one: make you feel an emotional synesthesia.
When hearing the melody, dont you feel that everything is...blue? aren’t you lost in the sky? is your mind going over? It’s not for no reason.
it is not only an image, it is not only a melody. It is a trip.
You dont feel bored. Its your mind using the notes and the colors to create your own experience.

Most of the videos online with only one image are only music, but not this.

The research behind the perfect combination is the key for the unconscious.

The research:
«Music–color associations are mediated by emotion»
www.pnas.org/content/110/22/8836
Stephen E. Palmer, Karen B. Schloss, Zoe Xu, and Lilia R. Prado-León
— This popular nocturne is in rounded binary form (A, A, B, A, B, A) with coda, C. The A and B sections become increasingly ornamented with each recurrence. The penultimate bar utilizes considerable rhythmic freedom, indicated by the instruction, senza tempo (without tempo). Nocturne in E-flat major opens with a legato melody, mostly played piano, containing graceful upward leaps which becomes increasingly wide as the line unfolds. This melody is heard again three times during the piece. With each repetition, it is varied by ever more elaborate decorative tones and trills. The nocturne also includes a subordinate melody, which is played with rubato.

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Composer: Franz Schubert
Artists: Alberto Miodini (piano)

When we look past the extended meditations of the sonatas into the rest of Schubert’s piano music, we tend hardly to see beyond the Wanderer Fantasy and the Impromptus. This undervalues the composer’s contribution to the work for his instrument, as the Italian pianist Alberto Miodini reveals on an extensive exploration of the sometimes slighter and lighter but often just shorter works he composed through his all-too-short career. Perhaps the late Klavierstücke D946 are best known, and justly so, for their profound and ruminative contemplation, and Miodini’s fellow-countryman Paolo Bordoni did sterling work for the Waltzes in 1970s recordings that stand the test of time, but there are still tantalising fragments that are no less worth hearing for their frustratingly unfinished status – the ‘Unfinished’ Symphony was by no means the only musical project that Schubert filed in his creative bottom drawer, so fecund was his compositional imagination that he could hardly get the ideas out fast enough. As noted by Alfred Brendel, Schubert chose to interrupt a composition ‘when it was unsatisfying or no longer interesting’ – evidence of the composer’s vigorous pursuit of his own individual Sonata style. Among the complete works here are equally little-known variation sets on melodies by Hüttenbrenner and Diabelli – works full of characteristically Schubertian energy and motive power.

You can find the tracklist in the comments:

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