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Popular Classical Music
- Thread starter Light - Man
- Start date
FullBright1
Headphoneus Supremus
My Favorite Classical Pianists are : Horowitz, Glen Gould, Yuja Wang, and Alice Sara Ott.
This Scarlatti piece along with the previous Howowitz plays (Bach) Vid i posted are both taken from the Album : Discovered Treasures
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This Scarlatti piece along with the previous Howowitz plays (Bach) Vid i posted are both taken from the Album : Discovered Treasures
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FullBright1
Headphoneus Supremus
I just created this video for my Channel.
Here it is for you.
This is a mix of ambient and contemporary Classical.
Preisner
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Here it is for you.
This is a mix of ambient and contemporary Classical.
Preisner
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Head1
Headphoneus Supremus
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Miguel Llobet - El Testament D'Amelia (The testament of Amelia) - Tavi Jinariu
Head1
Headphoneus Supremus
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Andrea Bocelli, Sarah Brightman - Time To Say Goodbye
Head1
Headphoneus Supremus
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Rachmaninov - Piano concerto No.1 played by a pupil of Horowitz
Byron Janis, Moscow Philharmonic Orchestra / Kyril Kondrashin
Byron Janis, Moscow Philharmonic Orchestra / Kyril Kondrashin
FullBright1
Headphoneus Supremus
Purcell - "Two Daughters"
Album : Siren
Anna Prohaska
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Album : Siren
Anna Prohaska
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Light - Man
Headphoneus Supremus
A concert that was on at the NCH Dublin (20 April 2018), no video available
Title: Piano Concerto No. 2 In C Minor, Composer: Rachmaninov
Performer(s): Nathalie Stutzmann (Conductor), Vyacheslav Gryaznov (Piano), Rte National Symphony Orchestra, Duration: 33:00
Title: Symphony No. 1 In C Minor, Composer: Brahms
Performer(s): Nathalie Stutzmann (Conductor), Rte National Symphony Orchestra, Duration: 45:00
https://www.rte.ie/radio/utils/radioplayer/rteradioweb.html#!rii=b16_10864281_8861_20-04-2018_
P.S. you may also need to click the play icon to the left of "The Lyric Concert" near the bottom of the image
Title: Piano Concerto No. 2 In C Minor, Composer: Rachmaninov
Performer(s): Nathalie Stutzmann (Conductor), Vyacheslav Gryaznov (Piano), Rte National Symphony Orchestra, Duration: 33:00
Title: Symphony No. 1 In C Minor, Composer: Brahms
Performer(s): Nathalie Stutzmann (Conductor), Rte National Symphony Orchestra, Duration: 45:00
https://www.rte.ie/radio/utils/radioplayer/rteradioweb.html#!rii=b16_10864281_8861_20-04-2018_
P.S. you may also need to click the play icon to the left of "The Lyric Concert" near the bottom of the image
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Head1
Headphoneus Supremus
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Penguin Cafe Orchestra - Perpetuum Mobile
Head1
Headphoneus Supremus
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Beethoven - 32 Variations in C minor - Evgeny Kissin
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Head1
Headphoneus Supremus
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Louis Moreau Gottschalk - La Nuit des Tropiques / A Night in the Tropics
Utah Symphony Orchestra / Maurice Abravanel
I. Andante (6/8)
II. Allegro moderato (2/4) 12:45
Utah Symphony Orchestra / Maurice Abravanel
I. Andante (6/8)
II. Allegro moderato (2/4) 12:45
Head1
Headphoneus Supremus
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Head1
Headphoneus Supremus
- Joined
- Oct 16, 2012
- Posts
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Schnittke - Declaration of love (A Fairy Tale Of Travels OST)
Frank Strobel / Berlin RSO
Frank Strobel / Berlin RSO
Head1
Headphoneus Supremus
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Chopin - Prelude No. 4 in E minor, op. 28 - Nino Gvetadze
Light - Man
Headphoneus Supremus
Last nights (Friday) concert from the NCH Dublin (video link usually only last until the following Thursday)
RTÉ National Symphony Orchestra
Stefan Asbury, conductor (replacing Thomas Adès)
Thomas Trotter, organ
Brahms: Variations on a Theme of Joseph Haydn, Op.56a / 17’
Gerald Barry: Organ Concerto (a new work)
Tchaikovsky: Symphony No. 6, Op. 74 ‘Pathétique’ / 46 ’
The Classical and Romantic eras meet and mingle with becoming delicacy in Brahms’s infectious Variations on a Theme by Joseph Haydn. Although scholars have since distanced Haydn from the Divertimento No. 1 for wind ensemble attributed to him – from which Brahms borrowed its ‘Chorale St Anthony’ second movement – there’s no denying (or refusing) the gorgeously lithe lyricism, involving high drama and yearning romance of Brahms’s tribute.
A new work by Gerald Barry – ‘a composer of strange and rare device’ (Sunday Times) is always an event. Commissioned by the RTÉ National Symphony Orchestra, the City of Birmingham Symphony Orchestra and the London Philharmonic Orchestra, his Organ Concerto sees him returning to the instrument for the first time since 1994’s miniature, The Chair. Barry succinctly describes the concerto as ‘a stormy conversation between organist and orchestra’. Featuring 21 metronomes at one point and variously evoking the Angelus bells, a feline friend ‘mourning the loss of atonality’ and remembered ‘musics that are like surreal familiar objects’, it promises to be quintessential Barry.
There is quintessential Tchaikovsky, too, in his ravishingly beautiful but searing Sixth Symphony, the Pathétique. The composer’s last significant musical statement – the premiere of which he conducted just nine days before his death in 1893 – it has become one of the cornerstones of the symphonic repertoire. A late, last, dark-hued masterpiece of remarkable emotional breadth, pulse-quickening lyricism, porcelain-delicate poetry, unbridled passion and an altogether baleful beauty, it is impossible to resist its effusive energy and exquisite sincerity.
RTÉ National Symphony Orchestra
Stefan Asbury, conductor (replacing Thomas Adès)
Thomas Trotter, organ
Brahms: Variations on a Theme of Joseph Haydn, Op.56a / 17’
Gerald Barry: Organ Concerto (a new work)
Tchaikovsky: Symphony No. 6, Op. 74 ‘Pathétique’ / 46 ’
The Classical and Romantic eras meet and mingle with becoming delicacy in Brahms’s infectious Variations on a Theme by Joseph Haydn. Although scholars have since distanced Haydn from the Divertimento No. 1 for wind ensemble attributed to him – from which Brahms borrowed its ‘Chorale St Anthony’ second movement – there’s no denying (or refusing) the gorgeously lithe lyricism, involving high drama and yearning romance of Brahms’s tribute.
A new work by Gerald Barry – ‘a composer of strange and rare device’ (Sunday Times) is always an event. Commissioned by the RTÉ National Symphony Orchestra, the City of Birmingham Symphony Orchestra and the London Philharmonic Orchestra, his Organ Concerto sees him returning to the instrument for the first time since 1994’s miniature, The Chair. Barry succinctly describes the concerto as ‘a stormy conversation between organist and orchestra’. Featuring 21 metronomes at one point and variously evoking the Angelus bells, a feline friend ‘mourning the loss of atonality’ and remembered ‘musics that are like surreal familiar objects’, it promises to be quintessential Barry.
There is quintessential Tchaikovsky, too, in his ravishingly beautiful but searing Sixth Symphony, the Pathétique. The composer’s last significant musical statement – the premiere of which he conducted just nine days before his death in 1893 – it has become one of the cornerstones of the symphonic repertoire. A late, last, dark-hued masterpiece of remarkable emotional breadth, pulse-quickening lyricism, porcelain-delicate poetry, unbridled passion and an altogether baleful beauty, it is impossible to resist its effusive energy and exquisite sincerity.
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