Mozart Symphonies Vol. II - Nos. 1,25,31,36,38 and "Eine Kleine Nachtmusik" (1978)
Género : Música
Tiempo de ejecución : 2H 10M
Director : Hugo Käch
Sinopsis
In the 1960s Karl Böhm (1894–1981) had made his mark as interpreter of Mozart with the the Berlin Philharmonic. Yet his recordings with the Vienna Symphony demonstrate a mutual sympathy and deep love for this timeless music. The musicians are razor-sharp in attack, harmony, and release. Böhm's style is minimalist: a firm downbeat, a ruffled hand here and there, a slight sway, no mugging. Occasionally, when quite excited, he gives a little hop but immediately pulls himself on a tight leash.
The evocative music of Claude Debussy has been described as the foundation of modern music. But how did the composer come to develop his unique style? On this video, maestro Francois-Xavier Roth and the London Symphony Orchestra present the UK premiere of a previously lost work by the young Debussy, alongside some of his earliest inspirations. Debussy's newly discovered Premiére Suite gives a rare insight into the mind of a young composer on the cusp of innovation. It's a work filled with Romantic and Eastern influences and glimpses of the unexpected harmonies that came to define Debussy's work. Paired alongside the composer's role models - from Wagner's powerful intertwining motifs, the abundant Spanish influences in Lalo's rarely-heard Cello Concerto performed here by Edgar Moreau, and Massenet's majestic Le Cid - Francois-Xavier Roth gives a fresh perspective on the much-loved composer.
Repertoire
Modest Mussorgsky: Night on Bald Mountain; Antonín Dvořák: Song to the Moon from “Rusalka”, Op. 114; Aram Chatschaturjan: Adagio from “Spartacus”; Richard Strauss: Final Scene from “Capriccio”, Op. 85; Richard Wagner: Overture to “Rienzi, der Letzte der Tribunen”; E. W. Korngold: Mariettas Lied from “Die tote Stadt”; Richard Strauss: Zueignung, Op. 10 No. 1; Sir Edward Elgar: Salut d’amour; Giacomo Puccini: Donde lieta uscì from “La bohème”; Tu che di gel sei cinta from “Turandot”; Ruggero Leoncavallo: Musette svaria sulla bocca viva from “La bohème”; Mimì Pinson, la biondinetta from “La bohème”; Piotr Tchaikovsky: “Romeo and Juliet” (Fantasy Overture)
El concierto de la noche de verano de la Filarmónica de Viena es el concierto anual clásico al aire libre más grande del mundo que se desarrolla en el mágico parque barroco del palacio de Schönbrunn en Viena. El concierto tendrá lugar el 31 de mayo de 2018 y su tema para este año es 'An Italian Night'. El concierto se transmite por televisión y radio en más de 60 países, y por lo tanto llega a una audiencia de millones. El repertorio de la noche es una atractiva combinación de obras extremadamente populares para orquesta, como William Tell Overture, la Marcha de la ópera Aida y el Intermezzo de Cavalleria Rusticana, así como famosas arias soprano como Vissi d'arte, vissi d'amore de Opera Tosca. ¡Valery Gergiev vuelve a dirigir el Concierto de la noche de verano y se une a la estrella Soprano Anna Netrebko en lo que promete ser uno de los conciertos más populares de este año!
The New Year’s Concert live from Vienna is one of the world’s most famous and spectacular classical music events. It was be broadcast on TV and radio and reaches over 90 countries around the world with more than 40 million viewers. Broadcast on BBC2, New Year’s Day, 10:15am, Highlights broadcast on BBC2, New Year’s Day, 7pm. The annual New Year's Day Concert in Vienna has been a major event for more than eight decades. The resulting recordings with works from the Strauss dynasty and their contemporaries are among the classical market's most important releases. In 2018, Riccardo Muti returns to conduct the New Year's concert for the 5th time! Muti has conducted the world famous Vienna Philharmonic Orchestra more than 500 times, which has created a special relationship and connection with the orchestra, resulting in a fantastic sound.
The Waldbühne in Berlin, one of the most appealing outdoor amphitheatres on the European continent, is the home of the Berliner Philharmoniker’s summer concerts. With over 20.000 in attendance, they are some of the most popular classical music concerts in the world. In 2015 the Berliner Philharmoniker surrounded themselves with plenty of celebrities, including not only conductor Sir Simon Rattle, but also many figures from film history: Indiana Jones, Robin Hood, Ben Hur and many more. They were all brought to life musically when the orchestra performed some of Hollywood’s most famous film music. With film music from Star Wars, Indiana Jones, E.T. composed by John Williams. Live from the Waldbühne Berlin, 2015.
Vista generalPara su concierto anual de fin de temporada, la Filarmónica de Berlín lleva a la audiencia a un viaje mágico y de ensueño a través del río Rin con la amada tercera sinfonía renana de Schumann. Piezas de Der Ring des Nibelungen de Wagner bajo la batuta del dinámico director Gustavo Dudamel completan esta noche. Repertorio
Robert Schumann: Sinfonía n. ° 3 en mi bemol mayor
Richard Wagner: Einzug der Götter en Walhall (de Das Rheingold), Siegfrieds Rheinfahrt (de Götterdämmerung), Marcha fúnebre (de Götterdämmerung), Waldweben (de Siegfried), Walkürenritt (de Die Walküre), Isoldes Liebestod (de Tristan) Preludio 3. Acto (de Lohengrin) Filarmónica de Berlín
Gustavo Dudamel
For Mahlerites, his symphonies are much more than musical performances--they can be an emotional or spiritual journey through the struggles, fears, and triumphs of life. This Sixth Symphony is a 1976 performance in the Vienna Musikvereinssaal with PCM stereo and DTS 5.1. The 2 dvd set also includes the 4th and 5th symphonies, which are performed as magnificently as the Sixth.
In the 1960s Karl Böhm (1894–1981) had made his mark as interpreter of Mozart with the the Berlin Philharmonic. Yet his recordings with the Vienna Symphony demonstrate a mutual sympathy and deep love for this timeless music. The musicians are razor-sharp in attack, harmony, and release. Böhm's style is minimalist: a firm downbeat, a ruffled hand here and there, a slight sway, no mugging. Occasionally, when quite excited, he gives a little hop but immediately pulls himself on a tight leash.
This is one of the most important recordings of the 20th century, both for its content (considered by many the greatest cello music of all time) and for the intense devotion, careful preparation, and towering technical skill that went into the project. It was a brilliant idea to make a video as well as an audio recording. Cellists will welcome the chance to study Rostropovich's bowing and fingering techniques, close up and at leisure. And music-lovers will welcome the visuals of the recording location, a French church whose architecture, statues, and flickering candles complement the music.
La reconocida orquesta presenta el concierto anual clásico al aire libre más grande del mundo en vivo desde su ciudad natal, Viena, Austria, el jueves 29 de mayo de 2014. El Concierto de la noche de verano con la Filarmónica de Viena es un evento anual al aire libre que tiene lugar en el entorno mágico de El Schönbrunn Palace Park en Viena con el palacio como un magnífico telón de fondo. Todos están invitados a venir a esta ocasión única con entrada gratuita. Cada año, hasta 100,000 personas pueden recibir la invitación o disfrutar de la radio y la televisión en más de 60 países.
Claudio Abbado dirigió las sinfonías de Beethoven en muchas ocasiones con la Filarmónica de Berlín. Pero solo al final de su mandato, como director titular de la Berliner Philharmoniker, decidió interpretar las sinfonías completas. Se dejó al público de su Italia natal presenciar estos conciertos, en febrero de 2001, en la Accademia Nazionale di Santa Cecilia en Roma.
"Four Ways to Say Farewell" is a personal introduction to Mahler and his Ninth Symphony, during which Leonard Bernstein is seen and heard rehearsing the Vienna Philharmonic Orchestra. Filmed in 1971, this rehearsal was directed by Humphrey Burton,
The New Year’s Gala Concert is a tradition for the Berliner Philharmoniker and its music director, Sir Simon Rattle. This 2011 concert, Dances and Dreams, has a theme of dances (two Dvorak Slavonic Dances, Stravinksy’s Firebird Suite, Grieg’s Symphonic Dance, Richard Strauss’s Dance of the Seven Veils, and Brahms’ Hungarian Dance No. 1) and dreams (Ravel’s Alborado del Gracisoso and the famous Grieg Piano Concerto in A minor). This generous mix of romantic and impressionistic music shows off the magnificent Berlin ensemble at its best. It is also great to see star pianist Evgeny Kissin at the keyboards.
The 2019 New Year's Concert will be conducted for the first time by Christian Thielemann. A native of Berlin, Thielemann has been a regular and welcome guest of the Vienna Philharmonic since 2000, with the result that his first New Year s Concert may be seen as setting an example and providing an appropriate tribute to his previous work with the orchestra. According to the orchestra s chairman, Daniel Froschauer, orchestra and musicians trust each other completely: "The profound musical understanding and trust that have existed from the outset and that have always functioned perfectly have subsequently borne remarkable fruit in the symphonic repertory as well."
Un espectacular concierto en el sitio de la Ciudad Prohibida de Beijing. El concierto presenta a la renombrada Orquesta Sinfónica de Shanghái y al Maestro Long Yu, quienes interpretan Carmina Burana de Orff con Aida Garifullina, Toby Spence y Ludovic Tézier, antes de ser acompañados por Daniil Trifonov para el Concierto para piano No.2 de Rachmaninov y Mari Samuelsen para la pieza para violín de Max Richter ". Noviembre". Longitud 114 ′ (repertorio completo) / 71 ′ (Carmina Burana y Jasmine Flower Song) / 43 ′ (Concierto para piano y noviembre)
This set was recorded in the late 1960s to early 1970s. Herbert von Karajan is widely acknowledged to be one of the finest conductors of the 20th century, and around 1970 he was at his peak.
JK's is definitely in love with Italy; not only is he fluent in Italian but he sings here traditional songs some of which are in the Napolitanean dialect and he is good at it.
There are wonderful views of the Italian coastline with Jonas driving an iconic Alfa. There are bits of black and white film from his childhood spending holidays in Italyas a boy.
The audience adores him and his voice soars easily as such songs are easy on someone used to much heavier Verdi or Wagner roles. A delight to the ear.
Karajan conducts these symphonies with eyes closed, often intently enraptured by the music, smiling occasionally when a passage or solo sounds just right to his ear. He conducts Brahms with a greater sense of urgency than does Bernstein: the First symphony is 11 minutes shorter as conducted by Karajan! Nothing is rushed but there is what can only be described as emotional compression, an intensity of expression that sounds quicker than Bernstein's performances.
From the very first bars of the Coriolan Overture, it is apparent that this is Beethoven at his very best. Vladimir Jurowski and his absolutely brilliant Orchestra of the Age of Enlightenment give us a new reading of old favorites that may well blow you out of your chair. There is plenty to discover: sounds and textures never heard before, an orchestral timbre as the composer himself may have envisaged and heard, incredible strength and cohesion and, on the other hand, sensitive nuances that often disappear under a blanket of massed strings in more traditional interpretations.
There is hardly a better way to approach Ludwig van Beethoven than through his piano concertos. Beethoven’s own instrument was the piano, and in his improvisations – which made him the darling of the Viennese salons – he merged virtuosity and unbridled expression. The piano concertos give a clear idea of these performances. At the same time, they are prime examples of Beethoven’s ability to create large orchestral works with seemingly endless arcs of tension. The complete recording of all five works with Mitsuko Uchida and Sir Simon Rattle was one of the most spectacular projects of the Berliner Philharmoniker during the Rattle era – and at the same time the highlight of the collaboration between the orchestra and the pianist, which began in 1984.
