#duduktutorial
#howtoplayduduk

Subtitles are available.

Learn about online duduk lessons here: canberkulas.com/lessons/online-duduk-lessons/

Subscribe to my newsletter if you would like to be notified about upcoming concerts, face to face lessons and workshops in your town or country: canberkulas.com/newsletter/

In my process of learning the duduk, I have experienced different techniques and styles. I finally have found my musical identity as a duduk player after a long and difficult journey; however, I have benefited from different styles and cultures, and, inspired from different stories. This journey gave me new and different perspectives, knowledge, experience and story. You are welcome to write your own story.

www.canberkulas.com
www.facebook.com/canberkmusic/
www.instagram.com/canberkmusic/
open.spotify.com/artist/638YxB3OZPG9uNrkClUjvt?si=O6TDJX_MTE6z3vZ5Z4Awxg

Background music of Introduction
www.youtube.com/watch?v=GXSzX4fwi2g
Background music of Lesson 1
open.spotify.com/track/4tuGywXjCFHCuWNLbaRNwJ?si=7Wnou0x-RAy2IfRFpguMsQ

Special thanks to Derya Ulkat and Deniz Ulkat.
Thanks a lot to Baris Ayhan and Lea Laubacher for French subtitles.

ABOUT ME
I am a professional duduk player and educator.

I studied in Istanbul Technical University Turkish Music State Conservatory. I studied the duduk with Suren Asaduryan and Özcan Gül. I joined in Erkan Oğur’s and Derya Türkans workshops, who are two prominent representatives of Anatolian music.

It is possible to hear both Turkish and Armenian and also Ottoman Classical Music modes and patterns in my playing style. I have contributed to many albums and music productions with my duduk throughout my career. I composed music for quartet (duduk, piano, double bass, drums) and founded the band “Canberk Ulaş Quartet” in 2015 and I released my album titled “Telafi" with this band in 2017.

I continue working on my music projects, giving concerts in different parts of the world and giving duduk online lessons to duduk lovers from all over the world.

#dudukclasses
#dudukmasterclasses
#duduklessons
#duduklesson
#dudukdersleri
#dudukdersi
#balabandersi
#balabannasılçalınır
#howtoplaybalaban
#balabantutorial
#dudukmusic
#relaxingduduk
#armenianduduk
#balabanmusic

J. S. Bach
Cantatas:
BWV 139 [17:29]
BWV 163 [14:29]
BWV 52 [14:55]
BWV 140 [25:25]
Soprano: Gillian Keith [BWV 139, BWV 52]
Soprano: Susan Hamilton [BWV 163, BWV 140]
Alto: Hilary Summers
Tenor: William Kendall
Bass: Peter Harvey
Monteverdi Choir
English Baroque Soloists
John Eliot Gardiner
Live recordings from the Bach Cantata Pilgrimage.
Winchester Cathedral, England.

Raphaël Pichon dirige lEnsemble Pygmalion dans la Messe en si de Bach, avec Joanne Lunn, Lea Desandre, Lucile Richardot, Emiliano Gonzalez Toro et Christian Immler. Concert enregistré vendredi 24 mai 2019 à la Philharmonie de Paris.

#Bach #Concert #MusiqueClassique

0:00 • Introduction
2:03 • Kyrie Eleison
11:46 • Christe Eleison
16:24 • Kyrie Eleison
Gloria: 19:53
Et in terra pax: 21:32
Laudamus te: 26:30
Gratias agimus tibi: 30:40
Domine Deus: 33:56
Qui tollis peccata mundi: 39:23
Qui sedes ad dexteram Patris: 42:46
Quoniam tu solus sanctus: 46:45
Cum Sancto Spiritu: 50:50

II. SYMBOLUM NICENUM (CREDO)
Credo in unum Deum: 57:25
Patrem Omnipotentem: 59:07
Et in unum Dominum: 1:01:01
Et incarnatus est: 1:05:33
Crucifixus: 1:09:14
Et resurrexit: 1:12:17
Et in Spiritum Sanctum: 1:16:25
Confiteor: 1:20:59
Et expecto: 1:23:33

III. SANCTUS
Sanctus: 1:27:54

IV. OSANNA et BENEDICTUS, AGNUS DEI et DONA NOBIS PACEM
Osanna: 1:33:05
Benedictus: 1:35:39
Osanna (repetatur): 1:40:28
Agnus Dei: 1:43:10
Dona nobis pacem: 1:48:39

Programme
Johann Sebastian Bach (1685-1750)
Messe en si mineur BWV 232
Kyrie
Gloria
Credo
Sanctus
Benedictus
Distribution
Ensemble Pygmalion
Raphaël Pichon, direction
Joanne Lunn, soprano
Lea Desandre, mezzo-soprano
Lucile Richardot, alto
Emiliano Gonzalez Toro, ténor
Christian Immler, basse
Dans les dernières années de sa vie, Johann Sebastian Bach acheva une série d’œuvres qui constituèrent un magnifique testament musical de tous les styles qu’il pratiqua, que ce soit le contrepoint avec L’Offrande musicale (1747), les Variations canoniques pour orgue (1747-1748) et L’Art de la fugue (1742-1750), ou la musique religieuse avec la Messe en si mineur (1746-1749). Mais contrairement aux autres monuments contrapuntiques cités précédemment, la Messe ne fut pas véritablement composée entre 1746 et 1749. Hormis deux sections du Credo conçues vraisemblablement en 1749, Bach retravailla des pièces qu’il avait écrites auparavant dans diverses circonstances. Il réussit un tour de force en créant une œuvre nouvelle et originale à partir d’un matériau composite. Le compositeur délaissa également l’aria da capo et le récitatif, des formes qu’il avait abondamment utilisées dans les cantates et les Passions. Ainsi, il livre à la postérité non pas sa conception de ce que devait être une messe – attitude paradoxale pour un compositeur profondément attaché au rite luthérien – mais sa vision de la musique religieuse. La Messe en si mineur constitue ainsi une admirable synthèse des différents styles qu’il pratiqua sa vie durant.
La genèse de la Messe s’étendit donc sur plus de vingt années. Une première version du Credo fut sans doute exécutée pour la consécration de l’école Saint-Thomas de Leipzig, le 5 juin 1732. Un an plus tard, le 21 avril 1733, le Kyrie et le Gloria furent créés à l’occasion des vœux de fidélité du nouveau prince électeur de Saxe, Auguste III. Quatre mois après cette exécution, Bach adressa au souverain le manuscrit précédé de la supplique suivante: « Je m’offre avec la plus consciencieuse obéissance de démontrer en toute occasion mon zèle infatigable en composant de la musique sacrée aussi bien que pour l’orchestre chaque fois que Votre Majesté me fera la grâce de l’exiger. » La mise au point tardive de la Messe en si mineur explique pourquoi celle-ci ne fut jamais jouée dans son intégralité du vivant de Bach. Après le décès du cantor, l’autographe fut transmis à son fils cadet Carl Philipp Emanuel qui, en 1786, remania le Credo afin de le « moderniser ». Si des extraits furent régulièrement donnés entre 1811 et 1834, notamment par l’Académie de chant de Berlin, il fallut attendre 1859 pour que cette œuvre fût exécutée dans son intégralité (en traduction allemande !), sous la direction de Carl Riedel.

Provided to YouTube by Warner Classics International

Trumpet Sonata in D Major, Z. 850: I. Allegro · John Eliot Gardiner

Purcell Essentials

℗ 1995 Erato Disques S.A.

Trumpet: David Blackadder
Ensemble: English Baroque Soloists
Conductor: John Eliot Gardiner
Composer: Henry Purcell

Auto-generated by YouTube.

Complete Opera (Best Version) — Links in description
The Fairy Queen (Semi-Opera Z. 629) by Henry Purcell (1692)

Performed by English Baroque Soloists
Conducted by John Eliot Gardiner

First Music
1. Prelude — 0:00
2. Hornpipe — 1:58
Second Music
3. Air — 2:53
4. Rondeau — 3:40
5. Overture — 5:10
Act I
6. Song In Two Parts: «Come, Come, Come, Let Us Leave» — 7:13
7. Scene Of The Drunken Poet: «Fill Up The Bowl» — 9:37
8. First Act Tune: Jig — 16:17
Act II
9. Prelude And Song: «Come All Ye Songsters Of The Sky» — 17:30
10. Prelude — 19:22
11. Trio: «May The God Of Wit Inspire» — 20:12
12. Echo — 21:16
13. Chorus: «Now Joyn Your Warbling Voices All» — 22:50
14. A Dance Of Fairies — 23:18
15. Song And Chorus: «Sing While We Trip It On The Green» — 24:02
16. Song: «See, Even Night Her Self Is Here» — 25:44
17. Song: «I Am Come To Lock All Fast» — 30:01
18. Song: «One Charming Night» — 31:12
19. Song And Chorus: «Hush, No More, Be Silent All» — 33:10
20. A Dance For The Followers Of Night — 36:30
21. Second Act Tune: Air — 38:21
Act III
22. A Song In Two Parts And Chorus: «If Loves A Sweet Passion» — 39:42
23. Overture: Symphony While The Swans Come Forward — 47:42
24. Dance For The Fairies — 49:45
25. Dance For The Green Men — 50:34
26. Song: «Ye Gentle Spirits Of The Air, Appear» — 52:02
27. Dialogue Between Coridon And Mopsa: «Now The Maids And The Men» — 57:07
28. Song: «When I Have Often Heard» — 1:01:03
29. A Dance Of Haymakers — 1:04:16
30. Song And Chorus: «A Thousand Thousand Ways Well Find» — 1:05:13
31. Third Act Tune: Hornpipe — 1:07:21
Act IV
32. Symphony — 1:08:21
33. Solo And Chorus: «Now The Night Is Chacd Away» — 1:14:32
34. Duet: «Let The Fifes, And The Clarions» — 1:16:38
35. Entry Of Phoebus — 1:18:34
36. Song: «When A Cruel Long Winter»-Chorus: «Hail! Great Parent Of Us All» — 1:19:10
37. Song: «Thus The Ever Grateful Spring» (Spring) — 1:23:28
38. Song: «Heres The Summer, Sprightly, Gay (Summer) — 1:25:25
39. Song: „See My Many Colourd Fields“ (Autumn) — 1:27:04
40. Song And Chorus: „Now Winter Comes Slowly“ (Winter) — 1:30:07
41. Fourth Act Tune: Air — 1:33:29
Act V
42. Prelude — 1:34:25
43. Epithalamium: „Thrice Happy Lovers“ — 1:35:32
44. The Plaint: „O Let Me Weep“ — 1:38:09
45. Entry Dance — 1:45:51
46. Symphony — 1:46:59
47. Song: „Thus The Gloomy World“ — 1:48:12
48. Solo And Chorus: „Thus Happy And Free“ — 1:53:55
49. Song: „Yes Daphne, In Your Looks I Find“ — 1:55:32
50. Monkeys Dance — 1:57:26
51. Song: „Hark How All Things“ — 1:58:28
52. Song And Chorus: „Hark! the Eching Air“ — 2:00:35
53. Duet And Chorus: „Sure The Dull God“ — 2:03:27
54. Prelude — 2:05:32
55. Solo: „See, See, I Obey“ — 2:06:04
56. Duet „Turn Then Thine Eyes“ — 2:08:02
57. Solo: „My Torch, Indeed“ — 2:09:27
58. Trio: They Shall Be As Happy» — 2:10:12
59. Air — 2:11:21
60. Chorus: «They Shall Be As Happy» — 2:12:51
61. Chaconne: Dance For Chinese Man And Woman — 2:14:01

Live-Mitschnitt von Samstag, 17. Dezember 2016, 18.30 Uhr
KKL Luzern, Konzertsaal

Johann Sebastian Bach: Weihnachtsoratorium, BWV 248
1:00 Teil I
27:06 Teil II
56:06 Teil III
1:20:19 Teil VI

RIAS Kammerchor
Freiburger Barockorchester
Hans-Christoph Rademann, Leitung

Anna Lucia Richter, Sopran
Stefanie Irányi, Alt
Maximilian Schmitt, Tenor
Roderick Williams, Bass

Johann Sebastian Bach (1685-1750).
Brandenburg Concertos.

Concerto nº1 in F major BWV 1046
1. (no tempo indication)
2. Adagio
3. Allegro
4. Menuetto-Trio I-Polacca-Trio II

Concerto nº2 in F major BWV 1047
5. (no tempo indication)
6. Andante
7. Allegro assai

Concerto nº3 in G major BWV 1048
8. (no tempo indication)
9. Adagio — Allegro

Concerto nº4 in G major BWV 1049
10. Allegro
11. Andante
12. Presto

Concerto nº5 in D major BWV 1050
13. Allegro
14. Affettuoso
15. Allegro

Concerto nº6 in B flat major BWV 1051
16. (no tempo indication)
17. Adagio ma non tanto
18. Allegro

Soloists

Orchestra Of The Age Of Enlightenment
Bach, una de las cimas…

The Varnus Organ Hall needs your help. We are asking the communitys support to restoring and operating Varnus Hall, Canadas only private organ concert venue owned by Xaver Varnus, to provide a worthy home for organists, famous artists and young talent alike, from around the world to perform, and broadcast their concerts online. We are grateful to you if you can help our work with any donations. ca.gofundme.com/f/fundraising-for-varnus-organ-hall-in-nova-scotia

Xaver Varnus plays Toccata and Fugue in D minor (edited by Mendelssohn) on the great Sauer Organ of the Berliner Dom. Recorded live on the Opening Night of the «Berliner Internationaler Orgelsommer 2013».

At the time of its dedication in 1905, the great Sauer Organ of the Berliner Dom was the largest in Germany, with its 7269 pipes and 113 registers, distributed across four manuals and pedals. The court organ builder Wilhelm Sauer, from Frankfurt on the Oder, created an instrument that embodied the newest technical and musical developments of German organ building at the time. In that way, the organ met the high expectations of both the organ builder and his client: in the Protestant Cathedral of the capital city, there was to be a monumental, modern, and in every way extraordinary instrument of the highest quality. The organ of the Cathedral of Berlin represents the highpoint of Sauer’s career. At the same time, it marks the end of the long development of Romantic orchestral organs, whose sound corresponds to the characteristic sound of a symphonic orchestra of that period. Today, the organ in the Cathedral of Berlin is the largest late-Romantic pneumatic action organ in the world that has survived in its original condition.

•●The Official Video Site of Concert Organist Xaver Varnus●•

Born in Budapest, his first piano teacher was Emma Németh, one of the last pupils of Claude Debussy. Xaver Varnus has played virtually every important organ in the world, including those in Bachs Thomaskirche in Leipzig (2014), Berliner Dom (2013), Notre-Dame (1981), Saint-Sulpice (2006) and Saint-Eustache (1996) in Paris, National Shrine in Washington, D.C. (1985), and Canterbury Cathedral (2004), as well as the largest existing instrument in the world, the Wanamaker Organ in Philadelphia (1985). His Quadruple Platinum Disc winning album From Ravel to Vangelis, released by Sony BMG in 2007, is the best-selling organ CD ever. As a Canadian citizen, Xaver Varnus resides in Berlin, Germany. «Put simply, Varnus is a monster talent, every bit as stimulating and individual as the late Glenn Gould» (The Globe

Provided to YouTube by National Digital Aggregator LLC

Хорошо темперированный клавир, том 1: Прелюдия и фуга No. 4 до-диез минор, BWV 849 · Святослав Рихтер

Святослав Рихтер 100, Том 31 (Live)

℗ 2020 АО «Фирма Мелодия»

Released on: 2015-01-01

Auto-generated by YouTube.

Provided to YouTube by National Digital Aggregator LLC

Хорошо темперированный клавир, том 1: Прелюдия и фуга No. 7 ми-бемоль мажор, BWV 852 · Святослав Рихтер

Святослав Рихтер 100, Том 31 (Live)

℗ 2020 АО «Фирма Мелодия»

Released on: 2015-01-01

Auto-generated by YouTube.