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The Indian Queen, Z. 630, Act 3: Adagio · John Eliot Gardiner

Lullaby Classics

℗ 1995 Erato Disques S.A.

Orchestra: English Baroque Soloists
Conductor: John Eliot Gardiner
Composer: Henry Purcell

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Complete canticles (Te Deums) of G.F. Handel.

01. Utrecht Te Deum in D major HWV 278 00:00
02. Utrecht Jubilate in D major HWV 279 24:44
03. Queen Caroline Te Deum in D major HWV 280 42:24
04. Chandos Te Deum in B flat major HWV 281 57:50
05. Te Deum in A major HWV 282 01:32:18
06. Dettingen Te Deum in D major HWV 283 01:48:22

Choir of Christ Church Cathedral, Oxford, The Academy of Ancient Music, Simon Preston

Netherlands Bach Society
Jos Van Veldhoven

Les Arts Florissants, William Christie

Gerhard Jenemann
Drottningholms Baroque Ensemble*
Vocalsolisten Frankfurt

Concerto Polacco
Alsfelder Vocal Ensemble
Helbich, Wolfgang

Choir of Westminster Abbey
The English Concert
Trevor Pinnock
Simon Preston

Henry Purcell (1659 — 1695). Fantasias for the Viols, 1680

* Fantasiaupon one note

3 Fantasias in 3 parts
* Fantasia I
* Fantasia II
* Fantasia III

3 Fantasias en 4 parts
* Fantasia IV
* Fantasia V
* Fantasia VI

* In Nomine in 6 parts

3 Fantasias in 4 parts
* Fantasia VII
* Fantasia VIII
* Fantasia IX

3 Fantasias en 4 parts
* Fantasia X
* Fantasia XI
* Fantasia XII

* In Nomine in 7 parts

HESPÈRION XX
— Jordi Savall, dessus de viole
— Wieland Kuijken, basse de viole
— Sophie Watillon, autecontre de viole
— Eunice Brandao, ténor de viole
— Sergi Casademunt, ténor de viole
— Marianne Müller, basse de viole
— Philippe Pierlot, basse de viole

NEW AMAZING MUSIC-VIDEO ON THIS CHANEL
youtu.be/ZCPWPh06FwE — Benjamin Britten
youtu.be/BK3aTsBKj9M — Arshia Samsaminia
youtu.be/_h2-h831iLw — Roberto Di Marino

J.S.Bach HARPSICHORD Concerto in D Minor BWV 1052 Polina Osetinskaya piano
The Mariinsky String Orchestra
Conductor: Anton Gakkel www.antongakkel.org/
St.Petersburg, Mariinsky Theatre, Concert Hall 29.03.2015
0:05 — 1mvt / 8:15 — 2mvt / 16:13 — 3mvt
The life of pianist Polina Osetinskaya can be divided into two stages. The first – that of “wunderkind” (a word that Polina herself cannot abide) – was when Polina performed as a girl in huge halls filled with excited sensationalists. The second, which has continued to the present day, is essentially her victory over the first. It is both a reference to serious performing and to exacting audiences.
Polina Osetinskaya began to perform at the age of five. At the age of seven she entered the Central School of Music of the Moscow Conservatoire. Polina gave her first concert at the age of six at the Great Hall of the Vilnius Conservatoire in Lithuania. Together with her father who accepted the role of manager, the young Polina began to undertake frequent tours throughout the former USSR to packed halls and ovations. In her own country Polina was possibly the most famous child of her time and her relationship with her father was portrayed by the mass media as some kind of soap opera after the thirteen-year-old Polina decided to leave her father and study music seriously at the school of the Leningrad Conservatoire under the acclaimed teacher Marina Wolf.
Polina began to tour once again while still a student at the St Petersburg Conservatoire. (The pianist subsequently completed a postgraduate course at the Moscow Conservatoire under Professor Vera Gornostayeva.) She has appeared with the Tokyo Philharmonic Orchestra, the Orchestra of the Weimar National Opera, the Academic Symphony Orchestra of the St Petersburg Philharmonic (Honoured Ensemble of Russia), the State Academic Svetlanov Symphony Orchestra, the Moscow Virtuosi and the New Russia orchestra among other ensembles.
Polina Osetinskaya’s onstage partners have included conductors Saulius Sondeckis, Vassily Sinaisky, Andrei Boreiko, Gerd Albrecht, Yan Pascal Tortelier and Thomas Sanderling. Polina Osetinskaya has performed at the Wallonie Festival in Brussels, the Mainly Mozart festival, the Frédéric Chopin Festival in Miami, the Stars of the White Nights festival and the December Evenings festival among numerous others.
The pianist has been awarded the Maly Triumph prize. In 2008 she wrote her autobiography Farewell, Sadness, which became a bestseller.
Polina Osetinskaya generally creates unusual and frequently paradoxical solo programmes. She almost always includes works by contemporary composers, frequently justaposing them with traditional classical works: “Contemporary music is not just a continuation of older music. It also helps us discover ideas and beauty in older music that have been lost over decades of the blind museum generation and mechanical and often soulless performing.”
Polina Osetinskaya often performs works by post-avant-garde composers such as Valentin Silvestrov, Leonid Desyatnikov, Vladimir Martynov, Georgs Pelēcis and Pavel Karmanov.

The pianist collaborates with many recording companies including Naxos, Sony Music and Bel Air.
#polinaosetinskaya #musicaaldente #полинаосетинская #бах

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…

Kijk voor meer concerten op: avrotros.nl/klassiek/concerten
facebook.com/avrotros.klassiek — twitter.com/klassiekonline

Akademie für alte Musik Berlin
Georg Kallweit, viool/leiding

G.F. Händel 1685-1759

Water Music, HWV 348-350
— Overture: Largo-Allegro
— Adagio e staccato
— Allegro / Andante / Allegro da capo
— Allegro
— Air
— Minuet
— Bourrée
— Hornpipe
— Allegro moderato
— Allegro
— Alla hornpipe
— Minuet
— Rigaudon 1 / Rigaudon 2 / Rigaudon 1 — Lentement
— Bourrée
— Minuet 1 / Minuet 2
— Gigue 1 / Gigue 2 da capo
— Minuet

Opname: 10 januari 2016, Het Concertgebouw Amsterdam voor Het Zondagochtend Concert

Händels Water Music
Bijna drie eeuwen geleden gaf Händel een concert dat we ons nu nóg herinneren. Op een groot vlot voer hij, met orkest, over de Theems. De kabbelende rivier begeleidde de première van zijn Water Music. Een stuk dat niet bedoeld was voor de vissen en trekschuiten, maar voor koning George I. De drie suites van Water Music vormden de achtergrond voor een diner op zijn koninklijke jacht. Het smaakte deze ‘royals’ uitstekend: Händel en zijn musici moesten het werk twee keer herhalen.

Akademie für Alte Musik Berlin
Dit seizoen waagt Akademie für Alte Musik Berlin (Akamus) zich met HändelsWater Music aan een van de bekendste klassieke werken. Akamus won onlangs de Bach-medaille van de stad Leipzig, voor hun verdiensten in het historisch verantwoord uitvoeren van oude muziek. Wat dat betreft is Water Music extra interessant omdat er meerdere versies van het werk bestaan. Op het water klinkt muziek immers heel anders dan op het land.

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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

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Book I: No. 1 in C major, BWV 846: Prelude • 2:19 Fugue • No. 2 in C minor, BWV847: 3:57 Prelude • 5:38 Fugue • No. 3 in C sharp major, BWV 848: 7:17 Prelude • 8:31 Fugue • No. 4 in C sharp minor, BWV 849: 10:33 Prelude • 13:25 Fugue • No. 5 in D major, BWV 850: 18:54 Prelude • 20:02 Fugue • No. 6 in D minor, BWV 851: 22:06 Prelude • 23:27 Fugue • No. 7 in E flat major, BWV 852: 25:34 Prelude • 30:05 Fugue • No. 8 in E flat minor, BWV 853: 31:40 Prelude • 35:36 Fugue • No. 9 in E major, BWV 854: 42:25 Prelude • 43:36 Fugue • No. 10 in E minor, BWV 855: 44:46 Prelude • 47:02 Fugue • No. 11 in F major, BWV 856: 48:24 Prelude • 49:40 Fugue • No. 12 in F minor, BWV 857: 51:12 Prelude • 53:26 Fugue • No. 13 in F sharp major, BWV 858: 58:07 Prelude • 59:26 Fugue • No. 14 in F sharp minor, BWV 859: 1:01:25 Prelude • 1:02:29 Fugue • No. 15 in G major, BWV860: 1:06:35 Prelude • 1:07:37 Fugue • No. 16 in G minor, BWV 861: 1:10:20 Prelude • 1:12:30 Fugue • No. 17 in A flat major, BWV 862: 1:15:13 Prelude • 1:16:48 Fugue • No. 18 in G sharp minor, BWV 863: 1:19:48 Prelude • 1:21:27 Fugue • No. 19 in A major, BWV 864: 1:25:11 Prelude • 1:26:31 Fugue • No. 20 in A minor, BWV 865: 1:28:48 Prelude • 1:30:04 Fugue • No. 21 in B flat major, BWV 866: 1:34:49 Prelude • 1:36:15 Fugue • No. 22 in B flat minor, BWV 867: 1:38:00 Prelude • 1:41:21 Fugue • No. 23 in B major, BWV 868: 1:45:10 Prelude • 1:46:11 Fugue • No. 24 in B minor, BWV 869: 1:48:26 Prelude • 1:56:53 Fugue • Book II: 2:04:19 No. 1 in C major, BWV 870: Prelude • 2:06:51 Fugue • No. 2 in C minor, BWV 871: 2:08:34 Prelude • 2:10:56 Fugue • No. 3 in C sharp major, BWV 872: 2:13:28 Prelude • 2:15:14 Fugue • No. 4 in C sharp minor, BWV 873: 2:17:04 Prelude • 2:20:47 Fugue • No. 5 in D major, BWV 874: 2:23:00 Prelude • 2:28:37 Fugue • No. 6 in D minor, BWV 875: 2:32:35 Prelude • 2:34:11 Fugue • No. 7 in E flat major, BWV 876: 2:36:07 Prelude • 2:38:27 Fugue • No. 8 in D sharp minor, BWV 877: 2:40:48 Prelude • 2:45:54 Fugue • No. 9 in E major, BWV 878: 2:50:47 Prelude • 2:55:11 Fugue • No. 10 in E minor, BWV 879: 2:59:30 Prelude • 3:04:27 Fugue • No. 11 in F major, BWV 880: 3:07:38 Prelude • 3:11:04 Fugue • No. 12 in F minor, BWV 881: 3:12:47 Prelude • 3:17:09 Fugue • No. 13 in F sharp major, BWV 882: 3:19:04 Prelude • 3:22:36 Fugue • No. 14 in F sharp minor, BWV 883: 3:25:14 Prelude • 3:28:20 Fugue • No. 15 in G major, BWV 884: 3:32:54 Prelude • 3:35:01 Fugue • No. 16 in G minor, BWV 885: 3:36:34 Prelude • 3:39:30 Fugue • No. 17 in A flat major, BWV 886: 3:42:43 Prelude • 3:46:47 Fugue • No. 18 in G sharp minor, BWV 887: 3:50:29 Prelude • 3:54:31 Fugue • No. 19 in A major, BWV 888: 3:59:11 Prelude • 4:00:53 Fugue • No. 20 in A minor, BWV 889: 4:02:11 Prelude • 4:07:34 Fugue • No. 21 in B flat major, BWV 890: 4:09:18 Prelude • 4:16:17 Fugue • No. 22 in B flat minor, BWV 891: 4:20:06 Prelude • 4:24:02 Fugue • No. 23 in B major, BWV 892: 4:30:49 Prelude • 4:32:41 Fugue • No. 24 in B minor, BWV 893: 4:37:08 Prelude • 4:39:56 Fugue

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———
Franz Schubert (1797-1828) — Sonatas, Impromptus and Allegretto
Sonata in A / A-dur / La Maj, Op.posth.120 D.664
*Click to activate the English subtitles for the presentation* (00:00-01:52)
Allegro moderato (00:00)
Andante (11:35)
Allegro (16:57)

Impromptus, Op.90 D.899
*Click to activate the English subtitles for the presentation* (25:09-26:43)
N°1 in C minor / c-moll / ut min (25:09)
N°2 in E flat / Es-dur / Mi bémol Majeur (35:02)
N°3 in G flat / Ges-dur / Sol bémol Majeur (40:43)
N°4 in A flat / As-dur / La bémol Majeur (47:25)

Allegretto in C minor, D.915 (55:52)
*Click to activate the English subtitles for the presentation* (55:52-56:18)
c-moll / Ut mineur

Sonata in C minor / c-moll / Ut min, Op.posth. D.958
*Click to activate the English subtitles for the presentation* (1:02:37-1:05:32)
Allegro (1:02:37)
Adagio (1:14:16)
Menuetto — Allegro (1:22:40)
Allegro (1:26:19)

Sonata in B flat / B-dur / Si bémol Maj, D.960
*Click to activate the English subtitles for the presentation* (1:36:14-1:39:51)
Molto moderato (1:36:14)
Andante sostenuto (1:56:27)
Scherzo — Allegro vivace con delicatezza (2:07:17)
Allegro, ma non troppo (2:12:05)

Sonata in A / A-dur / La Maj, D.959
*Click to activate the English subtitles for the presentation* (2:20:31-2:24:13)
Allegro (2:20:31)
Andantino (2:36:08)
Scherzo — Allegro vivace (2:45:04)
Rondo — Allegretto (2:50:54)

Piano: Claudio Arrau
Recorded in 1978,1980,1982
Find CMRRs recordings on Spotify: spoti.fi/3016eVr

*COMMENTAIRE COMPLET: VOIR PREMIER COMMENTAIRE ÉPINGLÉ.*
Impromptus op. 90 D.899
Les deux groupes de quatre Impromptus chacun (D 899 et D 935) ont presque certainement été composés en 1827, et le n° I et le n° 2 de D 899 ont été imprimés peu avant la fin de 1827. Lorsque le troisième Impromptu a été publié dix ans plus tard, il est apparu un demi-ton plus haut en sol au lieu de sol bémol pour faciliter la tâche du joueur. Si un signe en croix est plus facile à lire que six signes en si bémol, la pièce nest pas plus facile à jouer. Ainsi, lintention de Schubert de faire se terminer le second Impromptu dans une tonalité mineure au lieu dune majeure, comme préparation à la tonalité de sol, est également détruite par la transposition.

Le titre «Impromptu», qui est apparu pour la première fois quelques années auparavant, fait référence à une pièce de caractère similaire à une improvisation. Comme relativement peu de matériaux de composition sont traités de différentes manières dans ces œuvres, chaque Impromptu de Schubert donne limpression davoir été créé dans un moment dinspiration créative. Mais quel soin extrême a été apporté par le compositeur pour assurer les fins développements harmoniques et les modulations! Dans le détail, les Impromptus (D 899 et D 935) montrent le compositeur au sommet de son art; ensemble, ils forment une de ses œuvres majeures.

Le premier et le plus vaste des quatre Impromptus, D 899, nest pas sans rappeler un rondo et se développe, même dans ses variations et ses prolongements, à partir dun seul thème. Le troisième, de caractère nocturne, est tout aussi dense, tandis que les Impromptus 3 et 4 sont basés sur la forme ABA. Le 2e Impromptu est suivi dune coda basée sur la partie centrale de la pièce, qui apporte avec elle la surprenante tonalité mineure.

Claudio Arrau: The Emperor (A film in English — Español Subtitulado) / The Emperor Concerto www.youtube.com/watch?v=lqFGXwomwOw

Glenn Gould performs Beethoven’s «Piano Sonata No. 17 in D minor op 31/2 — The Tempest“, at the classical music television series „Music For a Sunday Afternoon“, originally broadcast on March 19, 1967. Remember to subscribe to stay up to date with all new releases on the channel.

00:00 I Largo Allegro
07:03 II Adagio
16:19 III Allegretto