[CanadianMaestro]

Nothing like this for a morning wakey
....adrenaline at 8:26 if you are impatient.

 

[Head1]

Kapustin - Concert Etude Op. 40 No. 3: Toccatina

Shan-shan Sun

 

[Head1]

Giuseppe Giordani - Caro mio ben

Sumi Jo

 

[Luis Mad]

Mozart
La clemenza di Tito Overture, wonderful to start in the morning!
Julien Salemkour Staatskapelle Berlin

 

[Head1]

R. Strauss - Finale: Death of Don Quixote (excerpt)

Rostropovich , Karajan / BPO

 

[Head1]

Jan Dismas Zelenka - Sepulto Domino
from Responsoria pro Hebdomada Sancta, ZWV 55

Collegium 1704 & Collegium Vocale 1704
Vaclav Luks - dirigent / conductor

 

[Light - Man]

Elgar - Salut D'Amour (love letter) in D major by Nicola Benedetti

 

[wskl]

In the late 19th century, classical music was not thriving in the Netherlands. The capital, Amsterdam, had no great orchestra like Berlin and Vienna. Until Johannes Brahms turned the tide. In 1884, when conducting his Third Symphony in Amsterdam the musicians' level disappointed him. When leaving he said he would only return to Amsterdam for a good meal and a drink.

The regents could hardly let that humiliation go unheeded. This small country that sails all over the world that builds dykes to keep the water out and produces great painters built a real concert hall. One of the best in the world: The Concertgebouw. It opened in 1888 and the temple got its own orchestra: The Concertgebouworkest.

In its more than 130 years the Concertgebouworkest has had only seven chief conductors: Willem Kes, Willem Mengelberg, Eduard van Beinum, Bernard Haitink, Riccardo Chailly, Mariss Jansons and Daniele Gatti.

The sound of the Concertgebouworkest is unique. How has it developed and maintained its musical identity? How have the individual seven chief conductors given the musical heritage a new, personal identity?

 

[CanadianMaestro]

In the late 19th century, classical music was not thriving in the Netherlands. The capital, Amsterdam, had no great orchestra like Berlin and Vienna. Until Johannes Brahms turned the tide. In 1884, when conducting his Third Symphony in Amsterdam the musicians' level disappointed him. When leaving he said he would only return to Amsterdam for a good meal and a drink.

The regents could hardly let that humiliation go unheeded. This small country that sails all over the world that builds dykes to keep the water out and produces great painters built a real concert hall. One of the best in the world: The Concertgebouw. It opened in 1888 and the temple got its own orchestra: The Concertgebouworkest.

In its more than 130 years the Concertgebouworkest has had only seven chief conductors: Willem Kes, Willem Mengelberg, Eduard van Beinum, Bernard Haitink, Riccardo Chailly, Mariss Jansons and Daniele Gatti.

The sound of the Concertgebouworkest is unique. How has it developed and maintained its musical identity? How have the individual seven chief conductors given the musical heritage a new, personal identity?

The Cgbw is indeed th best in the world. The hall in Amsterdam is superb. I attended a concert of Mahler #1 in May '18, sitting behind the trombones facing Daniele Gatti. It was unforgettable. Haitink's Mahler and Bruckner recordings are gems. So are Jansons recs.

 

[CanadianMaestro]

R. Strauss - Finale: Death of Don Quixote (excerpt)

Rostropovich , Karajan / BPO

Gorgeous piece.

Karajan always conducted the BPO with his eyes closed, in concerts live. Apparently, if he opened them and looked right at a member of his orchestra during the performance, that person would likely be gone the next day. Soloists were excepted, perhaps. So, I suppose the "goal", if you were a member of the BPO back then, was to do everything possible to avoid getting the "Herbie Look" .
Play like your life depended on it.

 

[Luis Mad]

This is not the Concertgebouw, but the Bach Collegium Japan under Masaaki Suzuki. It is an amazing formation with excellent recordings not only of Bach. If you haven’t heard it I would recommend their Beethoven’s 9th, very special, and Mozart’s Mass in C minor.

Here Bach St John’s Passion. Beautiful performance.

 

[Head1]

For those who watched young musician 2004 you might also remember Benjamin Grosvenor. Here he's playing

Chopin - Piano Concerto No. 1 - II. Romance. Larghetto

Royal Scottish National Orchestra / Elim Chan

 

[Light - Man]

"Consolation" by Paul Ibbotson performed by Esther Abrami and Iyad Sughayer at the Royal Birmingham Conservatoire.



Flashmob at Schönbrunn Palace - Edward Elgar's "Salut d'amour" - Esther Abrami & OJPA

"During the SCL Festival we had the pleasure to witness the enchanting encounter of Esther Abrami and Alicante's Youth Orchestra OJPA under the baton of Francisco Maestre. They met in front of the beautiful palace of Schönbrunn in Vienna and performed Edward Elgar's "Salut d'amour". No joint rehearal took place prior to their encounter".



Salut d'Amour (Edward Elgar) - Esther Abrami and Iyad Sughayer at the Royal Birmingham Conservatoire

 

[Luis Mad]

One of my absolute favorites, I have never seen it live. Needs three great performers. Hopefully soon...

Beethoven Triple Concerto
Anne Sophie Mutter Andre Previn Lynn Harrel
Kurt Masur London Philarmonic Orquestra

 

[Light - Man]

Cover version of the original music by Hans Zimmer from the Soundtrack of the movie "The Da Vinci Code" - "Chevaliers de Sangreal" arr. Rusanda Panfili & Friends. Filmed and Recorded on the 12.12.17 in Sargfabrik, Vienna. Rusanda Panfili on violin



Hans Zimmer - The Da Vinci Code [Live In Prague DVD]