Пеппа – симпатичная маленькая свинка, которая живет вместе со своей семьей: мамой Свинкой, папой Свином и маленьким братиком Джорджем. Пеппа обожает играть, наряжаться, бывать в новых местах и прыгать по грязным лужам. Eе приключения всегда заканчиваются благополучно и сопровождаются взрывами смеха.
This Concerto for Oboe and Violin in C Minor, performed by Emma Black and Shunske Sato for All of Bach, is a reconstruction of the supposed original form of the concerto for two harpsichords in C Minor. In this version, each instrument makes full use of its own timbre and characteristics. In the finale, the violin clearly gets more scope than the oboe to show off its most virtuoso side, while in the second movement – a rocking Siciliano – both instruments become closely entangled.
Recorded for the project All of Bach on December 6th 2019 at Stadsgehoorzaal, Leiden. If you want to help us complete All of Bach, please subscribe to our channel bit.ly/2vhCeFB and consider donating bit.ly/2uZuMj5.
All of Bach is a project of the Netherlands Bach Society / Nederlandse Bachvereniging, offering high-quality film recordings of the works by Johann Sebastian Bach, performed by the Netherlands Bach Society and its guest musicians. Visit our free online treasury for more videos and background material allofbach.com/en/. For concert dates and further information go to www.bachvereniging.nl/nederlandse-bachvereniging.
Netherlands Bach Society
Emma Black, oboe
Shunske Sato, violin and direction
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.
The Art of Fugue or The Art of the Fugue (original German: Die Kunst der Fuge), BWV 1080, is an incomplete masterpiece by Johann Sebastian Bach (1685--1750). The work was most likely started at the beginning of the 1740s, if not earlier. The first known surviving version, which contained 12 fugues and 2 canons, was copied by the composer in 1745. This manuscript has a slightly different title, added afterwards by his son-in-law Johann Christoph Altnickol: Die Kunst der Fuga. Bachs second version was published in 1751 after his death. It contains 14 fugues and 4 canons. «The governing idea of the work», as the eminent Bach specialist Christoph Wolff put it, is «an exploration in depth of the contrapuntal possibilities inherent in a single musical subject.»
Structure
0:00 — Contrapunctus I
3:12 — Contrapunctus II
6:24 — Contrapunctus III
9:20 — Contrapunctus IV
14:38 — Contrapunctus V
17:55 — Contrapunctus VI in Stylo Francese
22:04 — Contrapunctus VII per Augmentationem et Diminutionem
26:04 — Contrapunctus VIII
32:06 — Contrapunctus IX alla Duodecima
35:06 — Contrapunctus X alla Decima
39:30 — Contrapunctus XI Triple fugue
46:41 — Canone allOttava
49:35 — Canone alla Duodecima in Contrapunto alla Quinta
51:52 — Canone alla Decima in Contrapunto alla Terza
56:36 — Canone per Augmentationem in Contrario Motu
1:01:27 — Contrapunctus XIII rectus
1:03:59 — Contrapunctus XIII inversus
1:06:57 — Contrapunctus XII rectus
1:09:50 — Contrapunctus XII inversus
Summer — Concerto No. 2 in G minor
from The Four Seasons by Antonio Vivaldi
Netherlands Bach Society
Violin and direction: Shunske Sato
The Four Seasons are among the most populair and best violin concertos written in the baroque era. Recorded on October 7th 2016 at the Muziekgebouw aan t IJ, Amsterdam.
“China’s premier interpreter of Bach”, is what International Piano Magazine called Yuan Sheng. A pupil of Solomon Mikowsky (Manhattan School of Music) and notably Rosalyn Tureck, Yuan Sheng extensively studied the performance practice of Baroque music. Equally at home at the harpsichord he has an instinctive feeling for the possibilities, sonorities and touch of the instrument at hand, so that “the listener might easily have imagined the composer at the keyboard” (Boston Intelligencer).
The title is misleading: the English Suites are more ‘French’ in character than the French Suites, which are more characteristic of the Italian style. ‘By design the composer is here less learned than in his other suites,’ remarked one early biographer, ‘and has mostly used a pleasing, more predominant melody.’ Just so, and the same is true of the pair of suites BWV 818 and 819 which fall outside the collection but belong with it in terms of style. To all of them Yuan Sheng brings considered tempi and precise articulation in the mould of Tureck. To Bach at his most uncomplicated, Sheng brings the virtues of simplicity and clarity.
Again Yuan Sheng draws the listener into his highly intelligent musical discourse, vibrant and moving, speaking through the medium of a modern Steinway piano.
Composer: Johann Sebastian Bach
Artist: Yuan Sheng (piano)
1. 0:06 Op. 9, No. 1 in B flat minor. Larghetto
2. 5:53 Op. 9, No. 2 in E flat major. Andante
3. 10:29 Op. 9, No. 3 in B major. Allegretto
4. 17:09 Op. 15, No. 1 in F major. Andante cantabile
5. 22:07 Op. 15, No. 2 in F sharp major. Larghetto
6. 25:43 Op. 15, No. 3 in G minor. Lento
7. 30:53 Op. 27, No. 1 in C sharp minor. Larghetto
8. 36:32 Op. 27, No. 2 in D flat major. Lento sostenuto
9. 42:27 Op. 32, No. 1 in B major. Andante sostenuto
10. 47:27 Op. 32, No. 2 in A flat major. Lento
11. 53:01 Op. 37, No. 1 in G minor. Lento
12. 59:51 Op. 37, No. 2 in G major. Andante
13. 1:06:17 Op. 48, No. 1 in C minor. Lento
14. 1:12:25 Op. 48, No. 2 in F sharp minor. Andantino
15. 1:20:11 Op. 55, No. 1 in F minor. Andante
16. 1:25:36 Op. 55, No. 2 in E flat major. Lento sostenuto
17. 1:31:19 Op. 62, No. 1 in B major. Andante
18. 1:38:51 Op. 62, No. 2 in E major. Lento
19. 1:45:11 Op. 72, No. 1 in E minor. Andante
20. 1:49:19 Op. posth in C sharp minor. Lento con gran espressione
21. 1:53:18 Op. posth in C minor. Andante sostenuto
HAUSER performing his favorite classical music pieces with the Zagreb Philharmonic Orchestra at his classical solo concert at the Lisinski Concert Hall in Zagreb, October 2017.
Elisabeth Fuchs, conductor
Special guests:
Choir Zvjezdice
Lana Trotovsek, violin
Petrit Çeku, guitar
00:34 Benedictus (K. Jenkins)
09:05 Pie Jesu (A. L. Webber) feat. Josephine Ida Zec, child soprano
13:00 Ave Maria (F. Schubert)
17:50 Jesu, Joy of Mans Desiring (J. S. Bach)
21:08 Prelude from Cello Suite no.1 (J. S. Bach)
23:40 Panis Angelicus (C. Franck)
28:08 Erbarme Dich, Mein Gott from St. Matthew Passion (J. S. Bach)
36:20 Passacaglia (Handel — Halvorsen)
44:37 Adagio (Albinoni)
51:47 Salut dAmour (E. Elgar)
54:40 Song from a Secret Garden (Secret Garden)
58:28 Mia
Козероги именинники! — это ролик посвящён Козерогам -именинникам — поздравление, пожелания и немного заметок (ссылка на ролик youtu.be/lgiTQUNifb0 ) о наиболее значимых периодах наступающего года Желтой Собаки как для Козерога, так и для других Зодиакальных знаков, чтобы максимально полезно использовать потенциал планетарных энергий предстоящего года для выбора времени, когда и куда лучше направить вектора внимания для раскрытия творческого потенциал, активности в социуеме и внутрененем мире, более благополучной жизни в различных её аспектах, чтобы предстоящий год принес удовлетворение, самоутверждение благодаря подаркам судьбы от Сатурна, самой серьёзной планеты Зодиака.