Played by The Borodin Quartet With Alexander Buzlov (cello) — The Quintet was to be Schubert’s last completed chamber work. Just a few weeks after having completed the Quintet, Schubert died at three o’clock in the afternoon on November 19, 1828. It is widely believed to be among the handful of greatest chamber works ever composed.
The Borodin Quartet was formed in 1945 by four students from the Moscow Conservatory. Calling itself the Moscow Philharmonic Quartet, the group changed its name to Borodin Quartet ten years later and remains one of the very few existing established chamber ensembles with uninterrupted longevity. The current members of the Quartet are Ruben Aharonian, Sergei Lomovsky, Igor Naidin and Vladimir Balshin.
On May 7, 1824, Beethoven shared his 9th Symphony with the world even though he could never hear it. On May 7, 2015 celebrate the anniversary of Beethoven’s most glorious and jubilant masterpiece with Riccardo Muti and the Chicago Symphony Orchestra and Chorus. An exhilarating testament to the human spirit, Beethoven’s Ninth bursts with brooding power and kinetic energy and culminates in the exultant hymn, “Ode to Joy.”The video is now available free on demand for all to enjoy! — See more at: cso.org/beethoven9
#sharethejoy
Baroque music is a period or style of Western art music composed from approximately 1600 to 1750. This era followed the Renaissance music era, and was followed in turn by the Classical era. Baroque music forms a major portion of the «classical music» canon, and is now widely studied, performed, and listened to. Key composers of the Baroque era include Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, Tomaso Albinoni, François Couperin, Giuseppe Tartini, Heinrich Schütz, Giovanni Battista Pergolesi, Dieterich Buxtehude, and Johann Pachelbel.
The Baroque period saw the creation of common-practice tonality, an approach to writing music in which a song or piece is written in a particular key; this kind of arrangement has continued to be used in almost all Western popular music. During the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. Baroque concerts were typically accompanied by a basso continuo group (comprising chord-playing instrumentalists such as harpsichordists and lute players improvising chords from a figured bass part) while a group of bass instruments—viol, cello, double bass—played the bassline. A characteristic Baroque form was the dance suite. While the pieces in a dance suite were inspired by actual dance music, dance suites were designed purely for listening, not for accompanying dancers.
During the period, composers and performers used more elaborate musical ornamentation (typically improvised by performers), made changes in musical notation (the development of figured bass as a quick way to notate the chord progression of a song or piece), and developed new instrumental playing techniques. Baroque music expanded the size, range, and complexity of instrumental performance, and also established the mixed vocal/instrumental forms of opera, cantata and oratorio and the instrumental forms of the solo concerto and sonata as musical genres. Many musical terms and concepts from this era, such as toccata, fugue and concerto grosso are still in use in the 2010s. Dense, complex polyphonic music, in which multiple independent melody lines were performed simultaneously (a popular example of this is the fugue), was an important part of many Baroque choral and instrumental works.
The term «baroque» comes from the Portuguese word barroco, meaning «misshapen pearl». Negative connotations of the term first occurred in 1734, in a criticism of an opera by Jean-Philippe Rameau, and later (1750) in a description by Charles de Brosses of the ornate and heavily ornamented architecture of the Pamphili Palace in Rome; and from Jean Jacques Rousseau in 1768 in the Encyclopédie in his criticism of music that was overly complex and unnatural. Although the term continued to be applied to architecture and art criticism through the 19th century, it was not until the 20th century that the term «baroque» was adopted from Heinrich Wölfflins art-history vocabulary to designate a historical period in music.
Performing the first movement of Bachs Keyboard Concerto No. 1 in D minor, BWV 1052, with Leonard Bernstein conducting the New York Philharmonic. Goulds performance begins at 18:03.
Originally aired on January 31, 1960 on CBS Television as part of its Ford Presents series, this program was entitled «The Creative Performer.» The entire show is actually three performances — by Gould, the soprano Eileen Farrell (singing the «Suicidio!» aria from *La Gioconda*),
More than 3,5 hours of the most famous and recognizable classical music recordings.The best of classical music for studying, reading, relaxing and (most of all) enjoying!
Tracklist:
0:00 P.I. Tchaikovsky – Swan Lake, Act II: No.10 Scene (Moderato)
02:42 Edvard Grieg – Morning Mood
06:22 Ludwig van Beethoven – Für Elise (Bagatelle No.25 in A minor)
08:51 Frederic Chopin — Nocturne in C-sharp minor
12:56 Georges Bizet — Habanera («Lamour est un oiseau rebelle»)
14:58 W.A. Mozart — Rondo alla Turca («Turkish March»)
18:33 Ludwig van Beethoven — Moonlight Sonata (The Piano Sonata No. 14 in C♯ minor «Quasi una fantasia», Op. 27, No. 2)
23:47 Antonio Vivaldi – The Four Seasons “Summer” (III: Presto)
26:24 P.I. Tchaikovsky – Dance Of The Sugar Plum Fairy
28:10 Federic Chopin – Prelude Op.28, no.4
30:44 Gioachino Rossini – Overture to “The Barber of Seville”
36:29 Jahannes Brahms – Hungarian Dance no.5 in F-sharp minor (fragment)
37:06 W.A Mozart – Eine kleine Nachtmusik (Serenade No. 13 for strings in G major)
42:54 J.S.Bach – Air on the G string (from Orchestral Suite No.3, BWV 1068)
45:47 W.A. Mozart – Symphony No.40 in G minor (1. Molto allegro)
51:44 Erik Satie – Gymnopedie no.1
54:56 Johann Strauss II – “Frühlingsstimmen”, Op. 410 («Voices of Spring»)
1:01:31 Frederic Chopin – Nocturne in B-flat minor, Op. 9, no.1
1:07:07 P.I. Tchaikovsky – The Nutcracker: Act I, No.4 Russian Dance
1:08:08 J.S.Bach – Orchestral Suite no.2 in B minor (7.Badinerie)
1:09:07 Gioachino Rossini – William Tell Overture
1:14:55 Antonin Dvorak – Symphony no. 9 in E minor («From the New world»: IV. Allegro con fuoco)
1:26:39 P.I. Tchaikovsky – The Nutcracker: Act I, No. 8 Waltz of the Flowers
1:31:47 Richard Wagner – Ride of the Valkyries
1:37:08 Ludwig van Beethoven — Sonata No. 8 in C Minor Pathetique, Op. 13 (II. Adagio cantabile)
1:42:08 Johann Strauss II – «An der schönen blauen Donau» (The Blue Danube),Op.314
1:49:19 Erik Satie – Gnossienne No.1
1:52:42 Edvard Grieg – In the Hall of the Mountain King
1:54:58 Frederic Chopin – Nocturne in E-flat major, Op. 9, No. 2
1:59:30 Antonio Vivaldi – The Four Seasons “Autumn” (1. Allegro)
2:04:30 Franz Liszt – Liebestraume no. 3 in A flat major
2:09:00 W.A. Mozart – Piano Concerto no.21 in C major (II. Movement)
2:13:19 Ludwig van Beethoven – The Symphony No.5 in C minor (fragment)
2:20:10 Claude Debussy – Clair de lune (from «Suite bergamasque»)
2:25:12 N.Rimsky-Korsakov – Flight of the Bumblebee (from “The Tale of Tsar Saltan)
2:26:28 P.I. Tchaikovsky – The Nutcracker: Act I, No. 2 (March)
2:28:25 Edvard Grieg — Notturno, Op.54, No.4
2:32:45 Felix Mendelssohn – Wedding March (from “A Midsumer Night’s Dream”)
2:37:46 Georges Bizet – Prelude to Act 1 for “Carmen”
2:40:02 Antonio Vivaldi – The Four Seasons “Spring” (1.Allegro)
2:43:36 Erik Satie – Gnossienne No.3
2:46:17 Johann Strauss II – Künstlerleben («Artists Life»), op.316
2:49:08 Frederic Chopin – “Revolutionary Etude” (Etude Op.10, No.12)
2:51:51 Luigi Boccherini – Minuet from String Quintet in E, Op. 11, No.5 (G 275)
2:54:00 Ludwig van Beethoven – Ode to Joy (from Symphony no. 9 in D minor)
2:57:53 Richard Strauss – Also sprach Zarathustra
2:59:14 Frederic Chopin – Waltz in D-flat major, Op 64, No 1 («Minute Waltz»)
3:01:00 Tomaso Albinoni — Adagio in G minor (attributed to Tomaso Albinoni, but actually proabably composed by Remo Giazotto).
3:04:29 Modest Mussorgsky – Night on Bald Mountain
3:11:49 Johann Strauss II – “Wiener Blut”, Op. 354
3:13:24 J.S.Bach – Toccata and Fugue in D minor, BWV 565
3:16:29 Jacques Offenbach – Overture to “Orpheus in the Underworld” (can-can section)
3:18:14 Leo Delibes – Pizzicato (from “Sylvia”)
3:20:09 Frederic Chopin – Funeral March (Piano Sonata No.2 in B flat minor Op 35: III. Marche Funebre)
3:29:33 W.A. Mozart – Requiem in D minor
3:33:01 J.S.Bach – Prelude in C major
Every composition from this video exists as a public domain or creative common content.
The fragment of Debussys «Suite bergamasque» performed by Laurens Goedhart.
Liszts «Liebesträume» performed by Martha Goldstein.
Griegs Notturno performed by Mark Gasser.
Piano versions of Mozarts «Requiem in D minor» and Piano «Concerto no.21 in C major» performed by Markus Staab.
Saties «Gnossiennes» performed by La Pianista.
Richard Wagners «Also Sprach Zarathustra» performed by Kevin MacLeod.
The fragments of Vivaldis «Spring», «Summer» and «Autumn» performed by John Harrison.
More public domain and creative commons music you can find on Musopen website.
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История о психотерапевте Инге Штефан, перешедшей в криминальный профайлинг после странной гибели нескольких ее пациентов, а ранее – исчезновения жениха. Параллельно со своим расследованием Инга работает с убойным отделом Главка полиции.
В ходе развития сюжета героиня узнает, что за ней много лет следит маньяк, виновный не только в смертях ее пациентов и жениха. Далее Инга узнает о сталкере все больше – тот доволен, поскольку теперь хочет от нее внимания, общения и понимания.
Расследуя очередное дело, героиня пытается поставить себя на место убийцы: «Кто ты? Что тобой движет?» «Кто ты?» – такой же вопрос, который задает Инга своему преследователю.
Параллельно Инга вливается в команду убойного отдела. С начальником отдела – майором Олегом Мищенко – они проходят путь от антипатии и конфликтов до партнерства, дружбы, симпатии и любви.