Popular Classical Music

Discussion in 'Music' started by light - man, May 19, 2016.
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  1. Light - Man
    Some Tico Tico - fear not (minus a tuba and a bag of lollipops). :crying_cat_face:.................:ghost:



    And a diabetics version



    Oops!



    And back on topic



     
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  2. Head1
    Once you pop, you can't stop.... damn tico


    Barenboim / Berliner Philharmoniker




    Edson Lopes & Fernando Lima

     
  3. Head1
    Philip Sparke - Harlequin - Bastien Baumet / Taichung Philharmonic Wind Ensemble

     
  4. goldtuba
    I had a chance to study with this man when I went to UNT. He is pretty much the guy when it comes to Euphonium. Absolutely fantastic musician. Too bad I can't find any recordings of him from when he was in his prime.

     
  5. Head1
    Angelo Badalamenti - Blue Velvet: Mysteries of love - french horn

     
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  6. Light - Man
    Last nights concert from the NCH Dublin (as usual the YT video only lasts 5-6 days until Thursday of next week)

    I went to see this concert last night with Her Lightness and we both thought that there was something special about it (and was also soothing and relaxing).

    We thought that Anna Devin has a very natural and clear voice with great tone and articulation and is someone to keep an eye on in the future.

    She sings in the first and second half but the recording does not really show off her full talent.

    RTÉ National Symphony Orchestra
    Harry Bicket
    conductor
    Anna Devin soprano

    Rameau Platée: Suite des danses / 8'
    Mozart Voi avete un cor fedele KV217 / 6'
    Mozart Oh temerario Arbace! - Per quel paterno amplesso KV79 / 7'
    Mozart Ah se in ciel benigne stele K538 / 8'
    Mozart Serenata Notturna in D major, K239 / 13'
    Rameau Suite from Les Boreades / 31'

    A brace of brilliant ballet suites by Rameau frame a programme of ravishing, coloratura-laced arias by Mozart sung by soprano Anna Devin – ‘a voice as liquid and sparkling as the best champagne’ (The Times) – with the ‘flawless and uplifting’ (The Independent) Harry Bicket conducting the RTÉ National Symphony Orchestra.

    Rameau’s Platée threw convention to the wind and returned ribald satire to French opera houses in 1745. A fantastical tale of the ugly eponymous water nymph who believes Jupiter, king of the gods, is in love with her, it was greeted by friend and foe alike as a masterpiece. The sparkling ballet Suite drawn from its score is a collection of animated dances and airs teeming over with colour and incident.

    Commissioned as a replacement aria for an opera by Baldassare Galuppi, the heartrending Voi avete un cor fedele (‘You have a faithful heart’) is a wholly characteristic Mozart aria for the then fashionable figure in Italian opera of the disillusioned female. Boasting a delightfully knowing, tongue-in-cheek irony and rich coloratura highlights, it surely flattered Galuppi’s now all but forgotten opera.

    Legend has it that Mozart was just 10-years-old when he composed Oh temerario Arbace!Per quel paterno amplesso(‘Oh dreadful Arbace! – For that fatherly embrace’) to a text by Pietro Metastasio in 1766. Others date it to 1770 when he would have been 14, Either way, it’s a remarkably mature and achingly romantic creation even allowing it being traditional in scope and sentiment.

    Ah se in ciel, benigne stele (‘Ah, if there are benign stars in heaven’) was composed in 1788 for the soprano Aloysia Lange. Rich, challenging orchestral writing infuses a text from Pietro Metastasio’s libretto L’eroe cinese (‘The Chinese heroes’) with an exoticness that contemporary audiences associated with the mysteries of the East. The taxing, high-lying vocal line calls for appropriately heroic breath control.

    The Serenata notturna of 1776 was composed as background music. Evening soirées with discrete ‘mood music’ were all the rage at the time. Ever rebellious, Mozart clearly wanted his ‘Night Serenade’ to be heard. Scored for multi-tasking strings and attention-seeking timpani, its compact three-movement form calls out for attention. The icing on an already rich cake is the music’s symphonic leanings and its feisty, fun finale with delightfully ‘listen to me’ timpani in scene-stealing splendour.

    Rameau’s final opera, Les Boréades, returned to that favourite standby of 18th-century French opera: Greek mythology. The posthumously arranged Suite (Rameau dying during rehearsals) opens with a rousing Overture and includes a set of dances whose characteristically bright colouring is tempered by the grave drama of a tale involving abduction, magic arrows and the god Apollo.

    http://www.rte.ie/radio/utils/radioplayer/rteradioweb.html#!rii=b16_10832111_8861_02-02-2018_

     
    Last edited: Feb 3, 2018
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  7. wskl
     
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  8. Head1
    Bach - WTC Bk II: Prelude No. 12 - Swingle singers

     
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  9. Head1
    Chopin - Barcarolle - Pollini



    edit: better version IMO
     
    Last edited: Feb 5, 2018
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  10. Pokemonn
     
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  11. Head1
    Vaughan Williams - Fantasia on a theme of Thomas Tallis

    Andrew Davis / BBC Symphony Orchestra

     
  12. SilverEars
    Wrong thread, sorry. Delete.
     
    Last edited: Feb 4, 2018
  13. Light - Man
    Two nice versions:

    Anna Devin - Handel's Tornami a Vagheggiar from Alcina




    HANDEL's Tornami a vagheggiar - Amanda Forsythe & Apollo's Fire

     
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  14. goldtuba
     
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