J.S.Bach HARPSICHORD Concerto in D Minor BWV 1052 Polina Osetinskaya piano
The Mariinsky String Orchestra
Conductor: Anton Gakkel www.antongakkel.org/
St.Petersburg, Mariinsky Theatre, Concert Hall 29.03.2015
0:05 — 1mvt / 8:15 — 2mvt / 16:13 — 3mvt
The life of pianist Polina Osetinskaya can be divided into two stages. The first – that of “wunderkind” (a word that Polina herself cannot abide) – was when Polina performed as a girl in huge halls filled with excited sensationalists. The second, which has continued to the present day, is essentially her victory over the first. It is both a reference to serious performing and to exacting audiences.
Polina Osetinskaya began to perform at the age of five. At the age of seven she entered the Central School of Music of the Moscow Conservatoire. Polina gave her first concert at the age of six at the Great Hall of the Vilnius Conservatoire in Lithuania. Together with her father who accepted the role of manager, the young Polina began to undertake frequent tours throughout the former USSR to packed halls and ovations. In her own country Polina was possibly the most famous child of her time and her relationship with her father was portrayed by the mass media as some kind of soap opera after the thirteen-year-old Polina decided to leave her father and study music seriously at the school of the Leningrad Conservatoire under the acclaimed teacher Marina Wolf.
Polina began to tour once again while still a student at the St Petersburg Conservatoire. (The pianist subsequently completed a postgraduate course at the Moscow Conservatoire under Professor Vera Gornostayeva.) She has appeared with the Tokyo Philharmonic Orchestra, the Orchestra of the Weimar National Opera, the Academic Symphony Orchestra of the St Petersburg Philharmonic (Honoured Ensemble of Russia), the State Academic Svetlanov Symphony Orchestra, the Moscow Virtuosi and the New Russia orchestra among other ensembles.
Polina Osetinskaya’s onstage partners have included conductors Saulius Sondeckis, Vassily Sinaisky, Andrei Boreiko, Gerd Albrecht, Yan Pascal Tortelier and Thomas Sanderling. Polina Osetinskaya has performed at the Wallonie Festival in Brussels, the Mainly Mozart festival, the Frédéric Chopin Festival in Miami, the Stars of the White Nights festival and the December Evenings festival among numerous others.
The pianist has been awarded the Maly Triumph prize. In 2008 she wrote her autobiography Farewell, Sadness, which became a bestseller.
Polina Osetinskaya generally creates unusual and frequently paradoxical solo programmes. She almost always includes works by contemporary composers, frequently justaposing them with traditional classical works: “Contemporary music is not just a continuation of older music. It also helps us discover ideas and beauty in older music that have been lost over decades of the blind museum generation and mechanical and often soulless performing.”
Polina Osetinskaya often performs works by post-avant-garde composers such as Valentin Silvestrov, Leonid Desyatnikov, Vladimir Martynov, Georgs Pelēcis and Pavel Karmanov.
The pianist collaborates with many recording companies including Naxos, Sony Music and Bel Air.
#polinaosetinskaya #musicaaldente #полинаосетинская #бах
Live:
Wilten Boys Choir
Academia Jacobus Stainer
Soloists: Wilten Boys, Bernhard Berchtold, Daniel Schmutzhard, Philippe Spiegel, Oliver Sailer, Patrik Reiter, Philipp Meraner, Sebastian Mair, David Kerber;
Leitung: Johannes Stecher
Osterfestival Tirol 25.3.2016, Congress Innsbruck Saal Tirol
Andras Schiff — Piano
BWV 812 813 814 815 816 817
The French Suites, BWV 812--817, are six suites which Johann Sebastian Bach wrote for the clavier (harpsichord or clavichord) between the years of 1722 and 1725. The suites were later given the name French (first recorded usage by Friedrich Wilhelm Marpurg in 1762) as a means of contrast with the English Suites (whose title is likewise a later appellation). The name was popularised by Bachs biographer Johann Nikolaus Forkel, who wrote in his 1802 biography of Bach, «One usually calls them French Suites because they are written in the French manner.» This claim, however, is inaccurate: like Bachs other suites, they follow a largely Italian convention.
There is no surviving definitive manuscript of these suites, and ornamentation varies both in type and in degree across manuscripts.
Иоганн Себастьян Бах (21 (31) марта 1685, Эйзенах, Саксен-Эйзенах — 28 июля 1750, Лейпциг, Саксония, Священная Римская империя) — немецкий композитор, органист-виртуоз, капельмейстер, музыкальный педагог.
За свою жизнь Бах написал более 1000 произведений. В его творчестве представлены все значимые жанры того времени, кроме оперы; он обобщил достижения музыкального искусства периода барокко. Бах — знаменитый мастер полифонии, продолжатель старинных традиций, в творчестве Баха полифония достигает расцвета.
Все великие композиторы и гении классической музыки на одном канале: Шопен, Моцарт, Шуберт, Мусоргский, Бах, Чайковский, Вивальди, Бетховен, Дебюсси и многие другие!
TRACKLIST:
Лучшее из Баха
01. Toccata and Fugue in D minor, BWV 565 Toccata
02. Suite No.2 in B minor, BWV 1067 Badinerie (2:59)
03. Suite No.3 in D major, BWV 1068 Air (4:26)
04. Suite No.4 in D major, BWV 1069 Rejouissance (9:50)
05. Brandenburg Concerto No.1 in F major, BWV 1046 Adagio (12:23)
06. Brandenburg Concerto No.2 in F major, BWV 1047 Allegro Assai (17:43)
07. Brandenburg Concerto No.3 in G major, BWV 1048 Allegro (21:08)
08. Concerto in C minor for Violin and Oboe, BWV 1060 Adagio (24:39)
09. Double Concerto in D minor, BWV 1043 Largo ma non Tanto (31:15)
10. Piano Concerto No.5 in F minor, BWV 1056 Largo (38:07)
11. Violin Concerto in A minor, BWV 1041 Allegro Assai (40:59)
12. Violin Concerto No.2 in E major, BWV 1042 Adagio (44:51)
13. Sonata No.3 in C major for Solo Violin, BWV 1005 Largo (52:22)
14. Wachet auf, Cantata, BWV 140 No.1 (55:48)
15. Nun komm, der Heiden Heiland, BWV 659 (1:01:40)
16. Christmas Oratorio, BWV 248 Sinfonia (1:06:26)
17. Goldberg Variations, BWV 988 Aria (1:12:27)
18. Jesu Joy of Mans Desiring, BWV 147 (1:15:48)
Festspielsommer Styriarte 2019 in Graz
J.S. Bach Brandenburgische Konzerte 1 bis 6
Concentus Musicus Wien —
Leitung Stefan Gottfried
Aufnahme vom 20.07.2019
Baroque music is a period or style of Western art music composed from approximately 1600 to 1750. This era followed the Renaissance music era, and was followed in turn by the Classical era. Baroque music forms a major portion of the «classical music» canon, and is now widely studied, performed, and listened to. Key composers of the Baroque era include Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, Tomaso Albinoni, François Couperin, Giuseppe Tartini, Heinrich Schütz, Giovanni Battista Pergolesi, Dieterich Buxtehude, and Johann Pachelbel.
The Baroque period saw the creation of common-practice tonality, an approach to writing music in which a song or piece is written in a particular key; this kind of arrangement has continued to be used in almost all Western popular music. During the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. Baroque concerts were typically accompanied by a basso continuo group (comprising chord-playing instrumentalists such as harpsichordists and lute players improvising chords from a figured bass part) while a group of bass instruments—viol, cello, double bass—played the bassline. A characteristic Baroque form was the dance suite. While the pieces in a dance suite were inspired by actual dance music, dance suites were designed purely for listening, not for accompanying dancers.
During the period, composers and performers used more elaborate musical ornamentation (typically improvised by performers), made changes in musical notation (the development of figured bass as a quick way to notate the chord progression of a song or piece), and developed new instrumental playing techniques. Baroque music expanded the size, range, and complexity of instrumental performance, and also established the mixed vocal/instrumental forms of opera, cantata and oratorio and the instrumental forms of the solo concerto and sonata as musical genres. Many musical terms and concepts from this era, such as toccata, fugue and concerto grosso are still in use in the 2010s. Dense, complex polyphonic music, in which multiple independent melody lines were performed simultaneously (a popular example of this is the fugue), was an important part of many Baroque choral and instrumental works.
The term «baroque» comes from the Portuguese word barroco, meaning «misshapen pearl». Negative connotations of the term first occurred in 1734, in a criticism of an opera by Jean-Philippe Rameau, and later (1750) in a description by Charles de Brosses of the ornate and heavily ornamented architecture of the Pamphili Palace in Rome; and from Jean Jacques Rousseau in 1768 in the Encyclopédie in his criticism of music that was overly complex and unnatural. Although the term continued to be applied to architecture and art criticism through the 19th century, it was not until the 20th century that the term «baroque» was adopted from Heinrich Wölfflins art-history vocabulary to designate a historical period in music.
