Beethoven : Concerto pour piano n°3 ( Alice Sara Ott / Orchestre philharmonique de Radio France)

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#AliceSaraOtt #Piano #Concert

Alice Sara Ott interprète le Concerto pour piano et orchestre n°3 en ut mineur, op. 37, de Ludwig van Beethoven aux côtés de lOrchestre philharmonique de Radio France dirigé par Mikko Franck. Enregistré le 27 janvier 2018 à lAuditorium de la Maison de la Radio (Paris).

Le Concerto pour piano n°3 de Beethoven est créé à Vienne le 5 avril 1803, le même jour que l’oratorio Le Christ au mont des Oliviers et la Deuxième Symphonie. Ecrit en ut mineur, tonalité chère à son compositeur, il se découpe en trois mouvements. L’Allegro con brio s’ouvre sur une longue page orchestrale avec l’exposition des deux thèmes principaux, ensuite repris par le pianiste. Au cours du développement, un dialogue s’établit entre soliste et orchestre. Le mouvement s’achève par une cadence au piano, inspirée du premier thème.

Au cœur du Largo, les arpèges du piano soutiennent le chant entonné conjointement par la flûte et le basson, empreint de sérénité. Gérard Condé suggère une « transposition musicale de la scène du balcon de Roméo et Juliette ». Enfin, dans le Rondo, orchestre et soliste conversent avec vigueur.
« Il s’agit à coup sûr du premier «grand» concerto beethovénien […], marquant un progrès très sensible dans l’équilibre entre soliste et orchestre, enfin traités en véritables partenaires », remarque François-René Tranchefort.

00:00 — Début du concert
02:14 — 1er mouvement: Allegro con brio
19:35 — 2ème mouvement: Largo
29:19 — 3ème mouvement: Rondo
42:50 — Bis: Für Elise

#AliceSaraOtt #Beethoven #OrchestrePhilharmoniqueDeRadioFrance

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Dioclesian, Z.627, Act 5: "Triumph, victorious love" (Tenor, Tenor, Bass, Chorus)

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Provided to YouTube by Erato Disques

Dioclesian, Z.627, Act 5: «Triumph, victorious love» (Tenor, Tenor, Bass, Chorus) · John Eliot Gardiner · English Baroque Soloists · Paul Elliott · Michael George · Rogers Covey-Crump

Purcell: King Arthur, Music for Queen Mary, Hail! Bright Cecilia, Timon of Athens, Dioclesian, The Indian Queen

Henry Purcell - The Fairy Queen Z 629 - Complete Opera (Best Version) - Links in description

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Complete Opera (Best Version) — Links in description
The Fairy Queen (Semi-Opera Z. 629) by Henry Purcell (1692)

Performed by English Baroque Soloists
Conducted by John Eliot Gardiner

First Music
1. Prelude — 0:00
2. Hornpipe — 1:58
Second Music
3. Air — 2:53
4. Rondeau — 3:40
5. Overture — 5:10
Act I
6. Song In Two Parts: «Come, Come, Come, Let Us Leave» — 7:13
7. Scene Of The Drunken Poet: «Fill Up The Bowl» — 9:37
8. First Act Tune: Jig — 16:17
Act II
9. Prelude And Song: «Come All Ye Songsters Of The Sky» — 17:30
10. Prelude — 19:22
11. Trio: «May The God Of Wit Inspire» — 20:12
12. Echo — 21:16
13. Chorus: «Now Joyn Your Warbling Voices All» — 22:50
14. A Dance Of Fairies — 23:18
15. Song And Chorus: «Sing While We Trip It On The Green» — 24:02
16. Song: «See, Even Night Her Self Is Here» — 25:44
17. Song: «I Am Come To Lock All Fast» — 30:01
18. Song: «One Charming Night» — 31:12
19. Song And Chorus: «Hush, No More, Be Silent All» — 33:10
20. A Dance For The Followers Of Night — 36:30
21. Second Act Tune: Air — 38:21
Act III
22. A Song In Two Parts And Chorus: «If Loves A Sweet Passion» — 39:42
23. Overture: Symphony While The Swans Come Forward — 47:42
24. Dance For The Fairies — 49:45
25. Dance For The Green Men — 50:34
26. Song: «Ye Gentle Spirits Of The Air, Appear» — 52:02
27. Dialogue Between Coridon And Mopsa: «Now The Maids And The Men» — 57:07
28. Song: «When I Have Often Heard» — 1:01:03
29. A Dance Of Haymakers — 1:04:16
30. Song And Chorus: «A Thousand Thousand Ways Well Find» — 1:05:13
31. Third Act Tune: Hornpipe — 1:07:21
Act IV
32. Symphony — 1:08:21
33. Solo And Chorus: «Now The Night Is Chacd Away» — 1:14:32
34. Duet: «Let The Fifes, And The Clarions» — 1:16:38
35. Entry Of Phoebus — 1:18:34
36. Song: «When A Cruel Long Winter»-Chorus: «Hail! Great Parent Of Us All» — 1:19:10
37. Song: «Thus The Ever Grateful Spring» (Spring) — 1:23:28
38. Song: «Heres The Summer, Sprightly, Gay (Summer) — 1:25:25
39. Song: „See My Many Colourd Fields“ (Autumn) — 1:27:04
40. Song And Chorus: „Now Winter Comes Slowly“ (Winter) — 1:30:07
41. Fourth Act Tune: Air — 1:33:29
Act V
42. Prelude — 1:34:25
43. Epithalamium: „Thrice Happy Lovers“ — 1:35:32
44. The Plaint: „O Let Me Weep“ — 1:38:09
45. Entry Dance — 1:45:51
46. Symphony — 1:46:59
47. Song: „Thus The Gloomy World“ — 1:48:12
48. Solo And Chorus: „Thus Happy And Free“ — 1:53:55
49. Song: „Yes Daphne, In Your Looks I Find“ — 1:55:32
50. Monkeys Dance — 1:57:26
51. Song: „Hark How All Things“ — 1:58:28
52. Song And Chorus: „Hark! the Eching Air“ — 2:00:35
53. Duet And Chorus: „Sure The Dull God“ — 2:03:27
54. Prelude — 2:05:32
55. Solo: „See, See, I Obey“ — 2:06:04
56. Duet „Turn Then Thine Eyes“ — 2:08:02
57. Solo: „My Torch, Indeed“ — 2:09:27
58. Trio: They Shall Be As Happy» — 2:10:12
59. Air — 2:11:21
60. Chorus: «They Shall Be As Happy» — 2:12:51
61. Chaconne: Dance For Chinese Man And Woman — 2:14:01

Andreas Scholl - Bach: St. Matthew Passion BWV 244 - Können Tränen meiner Wangen

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Andreas Scholl — Bach: St. Matthew Passion BWV 244 — Können Tränen meiner Wangen
Johann Sebastian Bach
Conducted by Philippe Herreweghe

Chœr et Orchestre de Collegium Vocale Gent / Schola Cantorum Cantate Domino (Director: Michäel Ghljs)

Tenor [Evangelist]: Ian Bostridge; Bass [Jesus]: Franz-Josef Selig; Soprano [arias, Pilatus wife]: Sibylla Rubens; Alto: Andreas Scholl; Tenor: Werner Güra; Bass: Dietrich Henschel; Bass [Pilatus]: Dietrich Henschel; Baritone [Judas

J.S.Bach Concerto no.1 in D Minor BWV 1052 Polina Osetinskaya Anton Gakkel

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NEW AMAZING MUSIC-VIDEO ON THIS CHANEL
youtu.be/ZCPWPh06FwE — Benjamin Britten
youtu.be/BK3aTsBKj9M — Arshia Samsaminia
youtu.be/_h2-h831iLw — Roberto Di Marino

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

Kommt ihr Töchter (Matthäuspassion Bach), Wiltener Sängerknaben, Academia, Stecher

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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