Published on Sep 3, 2013
Kathleen Battle 1st movement of Villa-Lobos Bachianas Brasileires no. 5 concertos for voice and eight cellists.
From "Gala of the Stars 1985"
From "Gala of the Stars 1985"
Sunday, September 21, 2014
Kathleen Battle - Una Voce Poco Fa - Il Barbiere di Siviglia - Rossini -...
Uploaded on Jan 29, 2010
Kathleen Battle sings "Una Voce Poco Fa" in the "Barbiere di Siviglia" production from the Met in 1989. Ralf Weikert is conducting.
The source for this was the laserdisc edition.
The release on DVD is planned for april 1st 2010.
Yeah it's spelled grammophon... Who can spell that without an error?
The source for this was the laserdisc edition.
The release on DVD is planned for april 1st 2010.
Yeah it's spelled grammophon... Who can spell that without an error?
Kathleen Battle - Plaisir d'amour - Martini 5 / 9
Published on Apr 14, 2013
Plaisir d'amour composed by Jean Paul Martini
Kathleen Battle (Soprano)
Nancy Allen (Harp)
Recorded in 1987
Kathleen Battle (Soprano)
Nancy Allen (Harp)
Recorded in 1987
Victoria de los Angeles "El testament d`Amèlia" Catalan song
Uploaded on Jan 13, 2011
Victoria de los Angeles sing "El testament d`Amèlia"
a Catalan song "Cancion Tradicionals Catalanes
Geoffrey Parsons, piano
a Catalan song "Cancion Tradicionals Catalanes
Geoffrey Parsons, piano
Victoria de los Angeles - Allí está! Riyendo (La Vida Breve)
Uploaded on Apr 8, 2010
La Vida breve, (The Short Life)
Manuel de Falla. Lyric drama in two acts. 1905.
Libretto by Fernández Shaw.
First performance at the Municipal Casino, Nice, on 1st April 1913.
CHARACTERS
Salud, a gypsy girl.............................soprano
Paco, her lover...................................
Her Grandmother.............................
Uncle Sarvaor.................................
Carmela, Paco's bride......................mezzo-soprano
Manuel, her brother............................barit
Salud and Paco are lovers, but he agrees to marry a girl of his own richer class, Carmela. The wedding takes place, observed, from the street, by Salud. Her uncle Sarvaor offers to entertain the wedding-guests and Salud comes forward to accuse Paco, before falling down dead.
Text:
¡Allí está riyendo, [They're all laughing]
junto a esa mujé! [with that woman]
¡Separao para siempre de mí! [parted from me forever]
¡Ya es suya! ¡El es suyo! [He's yours! He's yours]
¡Ay, Dios mío! ¡Ay, mi Virgen! [Oh God! Oh Mary!]
¡Yo me siento morir! [I am dying!]
¡Paco! ¡Paco! ¡No! ¡No! ¡No! [Paco, No!]
¡Qué fatiga! [what fatigue]
¡Qué doló! [what fraud]
Unas veces se me para [sometimes I stop myself]
y otras veces se dispara [other times I go off]
como loco el corazón. [like crazy person the heart]
¡Qué ingrato! [How ungrateful]
¡Qué ingrato! [How ungrateful]
¡Qué habré jechoyo
pa que así me muera,
pa que así me maten,
sin causa nenguna,
sin ley ni razón?
Toos me lo ocultaban:
él porque es infame,
¡por piedad losmíos!
Piensan que me engañan,
que ignoro mi suerte...
¡Dios mío! ¡Diosmío!
¡Me siento morir!
¡Pa qué habré nacío!
¿pa morirme así?
como el pajarillo solo...
como la flor marchitá
cuando empezaba a vivir...
¡Mejor! pa vivir sufriendo
con este horrible penar,
¡es mejor, mejormorir!
Manuel de Falla. Lyric drama in two acts. 1905.
Libretto by Fernández Shaw.
First performance at the Municipal Casino, Nice, on 1st April 1913.
CHARACTERS
Salud, a gypsy girl.............................soprano
Paco, her lover...................................
Her Grandmother.............................
Uncle Sarvaor.................................
Carmela, Paco's bride......................mezzo-soprano
Manuel, her brother............................barit
Salud and Paco are lovers, but he agrees to marry a girl of his own richer class, Carmela. The wedding takes place, observed, from the street, by Salud. Her uncle Sarvaor offers to entertain the wedding-guests and Salud comes forward to accuse Paco, before falling down dead.
Text:
¡Allí está riyendo, [They're all laughing]
junto a esa mujé! [with that woman]
¡Separao para siempre de mí! [parted from me forever]
¡Ya es suya! ¡El es suyo! [He's yours! He's yours]
¡Ay, Dios mío! ¡Ay, mi Virgen! [Oh God! Oh Mary!]
¡Yo me siento morir! [I am dying!]
¡Paco! ¡Paco! ¡No! ¡No! ¡No! [Paco, No!]
¡Qué fatiga! [what fatigue]
¡Qué doló! [what fraud]
Unas veces se me para [sometimes I stop myself]
y otras veces se dispara [other times I go off]
como loco el corazón. [like crazy person the heart]
¡Qué ingrato! [How ungrateful]
¡Qué ingrato! [How ungrateful]
¡Qué habré jechoyo
pa que así me muera,
pa que así me maten,
sin causa nenguna,
sin ley ni razón?
Toos me lo ocultaban:
él porque es infame,
¡por piedad losmíos!
Piensan que me engañan,
que ignoro mi suerte...
¡Dios mío! ¡Diosmío!
¡Me siento morir!
¡Pa qué habré nacío!
¿pa morirme así?
como el pajarillo solo...
como la flor marchitá
cuando empezaba a vivir...
¡Mejor! pa vivir sufriendo
con este horrible penar,
¡es mejor, mejormorir!
Saturday, September 20, 2014
Thursday, September 18, 2014
Saturday, September 13, 2014
Django Reinhardt [FULL ALBUM]
Published on Nov 24, 2012
COPYRIGHT STATEMENT: This video is not being used to make money in any way and is for entertainment and leisure purposes only. This is an act of fair usage as described by the Copyright Offices, therefore, a dispute should not occur over this video. No copyright intended. This is strictly for non-profit and educational purposes only. All rights belong to the original owners and content creators of this material.
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. It is not to be used for copying and selling. No copyright infringement intended.
Here you have a selection of Django Reinhardt's best hits. I hope you all enjoy it.
1. Limehouse Blues 0:00
2. When Day is Done 2:46
3. Saint Louis Blues 5:58
4. Minor Swing 8:40
5. My Serenade 11:55
6. You Rascal You 14:58
7. Montmartre 18:05
8. I'll see You in My Dreams 20:33
9. Naguine 23:08
10. Nuages 25:38
11. Blues Clair 28:56
12. Place De Brouckere 32:02
13. Manoir Des Mes Reves (AKA Django's Castle) 34:59
14. Django's Tiger 38:18
15. Ol' Man River 40:56
16. Diminushing 43:39
17. Lady Be Good 46:57
18. To Each His Own Symphony 49:57
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. It is not to be used for copying and selling. No copyright infringement intended.
Here you have a selection of Django Reinhardt's best hits. I hope you all enjoy it.
1. Limehouse Blues 0:00
2. When Day is Done 2:46
3. Saint Louis Blues 5:58
4. Minor Swing 8:40
5. My Serenade 11:55
6. You Rascal You 14:58
7. Montmartre 18:05
8. I'll see You in My Dreams 20:33
9. Naguine 23:08
10. Nuages 25:38
11. Blues Clair 28:56
12. Place De Brouckere 32:02
13. Manoir Des Mes Reves (AKA Django's Castle) 34:59
14. Django's Tiger 38:18
15. Ol' Man River 40:56
16. Diminushing 43:39
17. Lady Be Good 46:57
18. To Each His Own Symphony 49:57
J.S. Bach Cantata BWV 156 "Ich steh mit einem Fuß im Grabe"
Ich steh mit einem Fuss im Grabe
Here I stand, one foot within the grave.
J.S. Bach Cantata BWV 156 "Ich steh mit einem Fuß im Grabe"
Kantate für den 3. Sonntag nach Trinitatis !
1. Sinfonia
Oboe, Violino I/II, Viola, Continuo
2. Choral S e Aria T
Violino I/II, Viola, Continuo
Ich steh mit einem Fuß im Grabe,
Machs mit mir, Gott, nach deiner Güt,
Bald fällt der kranke Leib hinein,
Hilf mir in meinen Leiden,
Komm, lieber Gott, wenn dirs gefällt,
Was ich dich bitt, versag mir nicht.
Ich habe schon mein Haus bestellt,
Wenn sich mein Seel soll scheiden,
So nimm sie, Herr, in deine Händ.
Nur lass mein Ende selig sein!
Ist alles gut, wenn gut das End.
3. Recitativo B
Continuo
Mein Angst und Not,
Mein Leben und mein Tod
Steht, liebster Gott, in deinen Händen;
So wirst du auch auf mich
Dein gnädig Auge wenden.
Willst du mich meiner Sünden wegen
Ins Krankenbette legen,
Mein Gott, so bitt ich dich,
Lass deine Güte größer sein als die Gerechtigkeit;
Doch hast du mich darzu versehn,
Dass mich mein Leiden soll verzehren,
Ich bin bereit,
Dein Wille soll an mir geschehn,
Verschone nicht und fahre fort,
Lass meine Not nicht lange währen;
Je länger hier, je später dort.
4. Aria A
Oboe, Violino, Continuo
Herr, was du willt, soll mir gefallen,
Weil doch dein Rat am besten gilt. In der Freude, In dem Leide, Im Sterben, in Bitten und Flehn Lass mir allemal geschehn, Herr, wie du willt.
5. Recitativo B
Continuo
Und willst du, dass ich nicht soll kranken,
So werd ich dir von Herzen danken;
Doch aber gib mir auch dabei,
Dass auch in meinem frischen Leibe
Die Seele sonder Krankheit sei
Und allezeit gesund verbleibe.
Nimm sie durch Geist und Wort in acht,
Denn dieses ist mein Heil,
Und wenn mir Leib und Seel verschmacht,
So bist du, Gott, mein Trost und meines Herzens Teil!
6. Choral
Oboe e Violino I col Soprano, Violino II coll' Alto, Viola col Tenore, Continuo
Herr, wie du willt, so schicks mit mir
Im Leben und im Sterben;
Allein zu dir steht mein Begier,
Herr, lass mich nicht verderben!
Erhalt mich nur in deiner Huld,
Sonst wie du willt, gib mir Geduld,
Dein Will, der ist der beste.
Besetzung : Soli: A T B, Coro: S A T B, Oboe, Violino I/II, Viola, Continuo
Entstehungszeit : 23. Januar 1729
Text: Christian Friedrich Henrici (Picander) 1728; 2: Johann Herman Schein 1628; 6: Kaspar Bieneman 1582
Anlass: 3. Sonntag nach Epiphanias
----------------------------------------
Ausführende: J.E. Gardiner, Monteverdi Choir, English Baroque Soloists
im Janaur 2000 Mailand, Italien
Kantate für den 3. Sonntag nach Trinitatis !
1. Sinfonia
Oboe, Violino I/II, Viola, Continuo
2. Choral S e Aria T
Violino I/II, Viola, Continuo
Ich steh mit einem Fuß im Grabe,
Machs mit mir, Gott, nach deiner Güt,
Bald fällt der kranke Leib hinein,
Hilf mir in meinen Leiden,
Komm, lieber Gott, wenn dirs gefällt,
Was ich dich bitt, versag mir nicht.
Ich habe schon mein Haus bestellt,
Wenn sich mein Seel soll scheiden,
So nimm sie, Herr, in deine Händ.
Nur lass mein Ende selig sein!
Ist alles gut, wenn gut das End.
3. Recitativo B
Continuo
Mein Angst und Not,
Mein Leben und mein Tod
Steht, liebster Gott, in deinen Händen;
So wirst du auch auf mich
Dein gnädig Auge wenden.
Willst du mich meiner Sünden wegen
Ins Krankenbette legen,
Mein Gott, so bitt ich dich,
Lass deine Güte größer sein als die Gerechtigkeit;
Doch hast du mich darzu versehn,
Dass mich mein Leiden soll verzehren,
Ich bin bereit,
Dein Wille soll an mir geschehn,
Verschone nicht und fahre fort,
Lass meine Not nicht lange währen;
Je länger hier, je später dort.
4. Aria A
Oboe, Violino, Continuo
Herr, was du willt, soll mir gefallen,
Weil doch dein Rat am besten gilt. In der Freude, In dem Leide, Im Sterben, in Bitten und Flehn Lass mir allemal geschehn, Herr, wie du willt.
5. Recitativo B
Continuo
Und willst du, dass ich nicht soll kranken,
So werd ich dir von Herzen danken;
Doch aber gib mir auch dabei,
Dass auch in meinem frischen Leibe
Die Seele sonder Krankheit sei
Und allezeit gesund verbleibe.
Nimm sie durch Geist und Wort in acht,
Denn dieses ist mein Heil,
Und wenn mir Leib und Seel verschmacht,
So bist du, Gott, mein Trost und meines Herzens Teil!
6. Choral
Oboe e Violino I col Soprano, Violino II coll' Alto, Viola col Tenore, Continuo
Herr, wie du willt, so schicks mit mir
Im Leben und im Sterben;
Allein zu dir steht mein Begier,
Herr, lass mich nicht verderben!
Erhalt mich nur in deiner Huld,
Sonst wie du willt, gib mir Geduld,
Dein Will, der ist der beste.
Besetzung : Soli: A T B, Coro: S A T B, Oboe, Violino I/II, Viola, Continuo
Entstehungszeit : 23. Januar 1729
Text: Christian Friedrich Henrici (Picander) 1728; 2: Johann Herman Schein 1628; 6: Kaspar Bieneman 1582
Anlass: 3. Sonntag nach Epiphanias
----------------------------------------
Ausführende: J.E. Gardiner, Monteverdi Choir, English Baroque Soloists
im Janaur 2000 Mailand, Italien
Link: http://youtu.be/sUEnjmFYpuU
Thursday, September 11, 2014
Arvo Pärt - Te Deum
Uploaded on Dec 27, 2011
Akademisk Kor.
Akademisk Orkester.
Nenia Zenana, conductor.
Marianne G. Nielsen, solist.
Academic Orchestra was founded in 1899, and in 1935 was created by the Academic Choir. There is therefore a well-established ensemble, where particularly the choir has managed to lead traditionerneop in the present and develop its own interpretation of the music.
Academic Choir is an ambitious amateur choir with a long tradition of the construction of major choral works, particularly oratorie works and exhibitions, which must be shown together with the Academic Orchestra. Academic Orchestra and Choir performs every Christmas Handel's Messiah in Copenhagen Cathedral, an annual tradition since the first performance in 1946.
Academic Choir was originally an ensemble of students, but today consists of approximately 70 members with different backgrounds. Nenia Zenana has been
conductor for choir and Orchestra since the summer of 2000.
Arvo Pärt (born 11 september 1935) is an Estonian composer. He was born in Paide, and grew up in Tallinn. In 1980 he emigrated because of dissatisfaction with the Soviet authorities and settled first in Vienna, then Berlin.
As a young composer experimented Pärt a part with a variety of the Western modernismes composition techniques; but gradually he found his own style: a personal variant of minimalism, which has made him one of today's best-known and most popular of classical composers. His music in this style is influenced by his religiousness and his interest in choral music from 14. to 16. in the 19th century.
His best-known work is probably Fratres, available in editions for a number of different combinations of instruments.
Te Deum is a setting of the Latin Te Deum text, also known as the Ambrosian Hymn attributed to Saints Ambrose, Augustine, and Hilary, by Estonian-born composer Arvo Pärt commissioned by the Westdeutscher Rundfunk Radio in Cologne, Germany in 1984. Dedicated to the late Alfred Schlee of Universal Edition, the WDR Broadcast Choir premiered the Te Deum under the direction of conductor Dennis Russell Davies on January 19, 1985. The Te Deum plays an important role in the services of many Christian denominations, including the Paraklesis (Moleben) of Thanksgiving in the Eastern Orthodox Church. Because of the unusual instrumentation Pärt employs, his Te Deum is not suited for use within the Orthodox Church. It was recorded on the ECM New Series label in 1993 by the Estonian Philharmonic Chamber Choir and Tallinn Chamber Orchestra under the direction of Tõnu Kaljuste. The piece is approximately thirty minutes long.
Te Deum employs Pärt's signature tintinnabuli compositional style. Tintinnabuli is often described as a minimalistic compositional technique, as its harmonic logic departs from that of the tonal tradition of Western classical music, creating its own distinct harmonic system. Tintinnabulation is a process in which a chosen triad encircles a melody, manifesting itself in specific positions in relation to the melody according to a predetermined scheme of adjacency. In its most rudimentary form, Pärt's tintinnabuli music is composed of two main voices: one carries the usually stepwise melody (M-voice) while the other follows the trajectory of the melody but is limited to notes of a specific triad (T-voice.) In the case of Te Deum, it is a D triad that is featured in the T-voice, and as such provides the harmonic basis for the entire piece.
The work is scored for three choirs (women's choir, men's choir, and mixed choir), prepared piano, divisi strings, and wind harp. According to the Universal Edition full score, the piano part requires that four pitches be prepared with metal screws and calls for "as large a concert grand as possible" and "amplified." The wind harp is similar to the Aeolian Harp, its strings vibrating due to wind passing through the instrument. Manfred Eicher of ECM Records "recorded this 'wind music' on tape and processed it acoustically." The two notes (D and A) performed on the wind harp are to be played on two separate CD or DAT recordings. According to the score preface, the wind harp functions as a drone throughout the piece, fulfilling "a function comparable to that of the ison in Byzantine church music, a repeated note which does not change pitch."
On an ECM records leaflet, Pärt wrote that the Te Deum text has "immutable truths," reminding him of the "immeasurable serenity imparted by a mountain panorama." His composition sought to communicate a mood "that could be infinite in time—out of the flow of infinity. I had to draw this music gently out of silence and emptiness."
Akademisk Orkester.
Nenia Zenana, conductor.
Marianne G. Nielsen, solist.
Academic Orchestra was founded in 1899, and in 1935 was created by the Academic Choir. There is therefore a well-established ensemble, where particularly the choir has managed to lead traditionerneop in the present and develop its own interpretation of the music.
Academic Choir is an ambitious amateur choir with a long tradition of the construction of major choral works, particularly oratorie works and exhibitions, which must be shown together with the Academic Orchestra. Academic Orchestra and Choir performs every Christmas Handel's Messiah in Copenhagen Cathedral, an annual tradition since the first performance in 1946.
Academic Choir was originally an ensemble of students, but today consists of approximately 70 members with different backgrounds. Nenia Zenana has been
conductor for choir and Orchestra since the summer of 2000.
Arvo Pärt (born 11 september 1935) is an Estonian composer. He was born in Paide, and grew up in Tallinn. In 1980 he emigrated because of dissatisfaction with the Soviet authorities and settled first in Vienna, then Berlin.
As a young composer experimented Pärt a part with a variety of the Western modernismes composition techniques; but gradually he found his own style: a personal variant of minimalism, which has made him one of today's best-known and most popular of classical composers. His music in this style is influenced by his religiousness and his interest in choral music from 14. to 16. in the 19th century.
His best-known work is probably Fratres, available in editions for a number of different combinations of instruments.
Te Deum is a setting of the Latin Te Deum text, also known as the Ambrosian Hymn attributed to Saints Ambrose, Augustine, and Hilary, by Estonian-born composer Arvo Pärt commissioned by the Westdeutscher Rundfunk Radio in Cologne, Germany in 1984. Dedicated to the late Alfred Schlee of Universal Edition, the WDR Broadcast Choir premiered the Te Deum under the direction of conductor Dennis Russell Davies on January 19, 1985. The Te Deum plays an important role in the services of many Christian denominations, including the Paraklesis (Moleben) of Thanksgiving in the Eastern Orthodox Church. Because of the unusual instrumentation Pärt employs, his Te Deum is not suited for use within the Orthodox Church. It was recorded on the ECM New Series label in 1993 by the Estonian Philharmonic Chamber Choir and Tallinn Chamber Orchestra under the direction of Tõnu Kaljuste. The piece is approximately thirty minutes long.
Te Deum employs Pärt's signature tintinnabuli compositional style. Tintinnabuli is often described as a minimalistic compositional technique, as its harmonic logic departs from that of the tonal tradition of Western classical music, creating its own distinct harmonic system. Tintinnabulation is a process in which a chosen triad encircles a melody, manifesting itself in specific positions in relation to the melody according to a predetermined scheme of adjacency. In its most rudimentary form, Pärt's tintinnabuli music is composed of two main voices: one carries the usually stepwise melody (M-voice) while the other follows the trajectory of the melody but is limited to notes of a specific triad (T-voice.) In the case of Te Deum, it is a D triad that is featured in the T-voice, and as such provides the harmonic basis for the entire piece.
The work is scored for three choirs (women's choir, men's choir, and mixed choir), prepared piano, divisi strings, and wind harp. According to the Universal Edition full score, the piano part requires that four pitches be prepared with metal screws and calls for "as large a concert grand as possible" and "amplified." The wind harp is similar to the Aeolian Harp, its strings vibrating due to wind passing through the instrument. Manfred Eicher of ECM Records "recorded this 'wind music' on tape and processed it acoustically." The two notes (D and A) performed on the wind harp are to be played on two separate CD or DAT recordings. According to the score preface, the wind harp functions as a drone throughout the piece, fulfilling "a function comparable to that of the ison in Byzantine church music, a repeated note which does not change pitch."
On an ECM records leaflet, Pärt wrote that the Te Deum text has "immutable truths," reminding him of the "immeasurable serenity imparted by a mountain panorama." His composition sought to communicate a mood "that could be infinite in time—out of the flow of infinity. I had to draw this music gently out of silence and emptiness."
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