In Wachet auf, ruft uns die Stimme, performed by the Netherlands Bach Society for All of Bach, everything revolves around the parable of the wise and foolish virgins. They wait throughout the night with burning lamps for the arrival of the bridegroom. Five of them have brought along extra oil to keep their lamp burning. The others run out of oil and go off to buy some more. The bridegroom arrives while they are away.
Recorded for the project All of Bach on February 11th 2018 at the Walloon Church, Amsterdam. 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
Jos van Veldhoven, conductor
Maria Keohane, soprano
Tim Mead, alto
Daniel Johannsen, tenor
Matthew Brook, bass
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.
BACH THE WELL TEMPERED CLAVIER I No.1~12
(The GLENN GOULD Edition)
Glenn Gould — 01. The Well-Tempered Clavier I No.1 in C Major BWV 846_ I. Praeludium
Glenn Gould — 02. The Well-Tempered Clavier I No.1 in C Major BWV 846_ II. Fuga
Glenn Gould — 03. The Well-Tempered Clavier I No.2 in C Minor BWV 847_ I. Praeludium
Glenn Gould — 04. The Well-Tempered Clavier I No.2 in C Minor BWV 847_ II. Fuga
Glenn Gould — 05. The Well-Tempered Clavier I No.3 in C Sharp Major BWV 848_ I. Praeludium
Glenn Gould — 06. The Well-Tempered Clavier I No.3 in C Sharp Major BWV 848_ II. Fuga
Glenn Gould — 07. The Well-Tempered Clavier I No.4 in C Sharp Minor BWV 849_ I. Praeludium
Glenn Gould — 08. The Well-Tempered Clavier I No.4 in C Sharp Minor BWV 849_ II. Fuga
Glenn Gould — 09. The Well-Tempered Clavier I No.5 in D Major BWV 850_ I. Praeludium
Glenn Gould — 10. The Well-Tempered Clavier I No.5 in D Major BWV 850_ II. Fuga
Glenn Gould — 11. The Well-Tempered Clavier I No.6 in D Minor BWV 851_ I. Praeludium
Glenn Gould — 12. The Well-Tempered Clavier I No.6 in D Minor BWV 851_ II. Fuga
Glenn Gould — 13. The Well-Tempered Clavier I No.7 in E Flat Major BWV 852_ I. Praeludium
Glenn Gould — 14. The Well-Tempered Clavier I No.7 in E Flat Major BWV 852_ II. Fuga
Glenn Gould — 15. The Well-Tempered Clavier I, No.8 in E Flat Minor, BWV 853_ I. Praeludium
Glenn Gould — 16. The Well-Tempered Clavier I, No.8 in D Sharp Minor, BWV 853_ II. Fuga
Glenn Gould — 17. The Well-Tempered Clavier I, No.9 in E Major, BWV 854_ I. Praeludium
Glenn Gould — 18. The Well-Tempered Clavier I, No.9 in E Major, BWV 854_ II. Fuga
Glenn Gould — 19. The Well-Tempered Clavier I, No.10 in E Minor, BWV 855_ I. Praeludium
Glenn Gould — 20. The Well-Tempered Clavier I, No.10 in E Minor, BWV 855_ II. Fuga
Glenn Gould — 21. The Well-Tempered Clavier I, No.11 in F Major, BWV 856_ I. Praeludium
Glenn Gould — 22. The Well-Tempered Clavier I, No.11 in F Major, BWV 856_ II. Fuga
Glenn Gould — 23. The Well-Tempered Clavier I, No.12 in F Minor, BWV 857_ I. Praeludium
Glenn Gould — 24. The Well-Tempered Clavier I, No.12 in F Minor, BWV 857_ II. Fuga
ytimg.preload(https://r2---sn-pivhx-n8vs.googlevideo.com/generate_204);ytimg.preload(https://r2---sn-pivhx-n8vs.googlevideo.com/generate_204?conn2);Bach / Gould — Two
Subscribe and turn on notifications to be alerted of our uploads!
2004 ITS Philharmonic Orchestra, Louis Jullien / All Rights Reserved
Violin Concerto in A minor, BWV 1041
00:00:00 Allegro moderato
00:03:46 Andante
00:09:26 Allegro assai
Violin Concerto in E major, BWV 1042
00:12:56 Allegro
00:20:47 Adagio
00:26:38 Allegro assai
Double Violin Concerto in D minor, BWV 1043
00:29:16 Vivace
00:32:59 Largo, ma non tanto
00:39:19 Allegro
Concerto for 3 Violins and Strings in D major, BWV 1064r
00:43:55 Adagio
00:50:30 Allegro
00:56:07 Allegro
Violin Concerto G minor, BWV 1056r
01:00:42 Allegro
01:04:23 Largo
01:06:58 Presto
Concerto for Violin and Oboe in C minor, BWV 1060r
01:10:06 Allegro
01:14:52 Adagio/ Largo
01:19:31 Allegro
Violin Concerto in D minor BWV 1052a
01:23:03 Allegro
01:31:03 Adagio
01:37:31 Allegro
Concerto for Flute, Violin, Harpsichord and Strings in A minor, BWV 1044
01:45:32 Allegro
01:53:51 Adagio ma non tanto e dolce
01:59:44 Tempo di Allabreve
Among the most revered virtuosos of all time, Nicolò Paganini was a true musical legend of his era, inspiring musicians such as Robert Schumann to forge his own career as a pianist. Franz Schubert was also a regular audience member at Paganini’s concerts, despite the outlandish ticket prices.
Paganini often remarked that, despite his legendary status as a violinist, he found it rather difficult to compose for the instrument. This release presents Paganinis complete violin concertos, performed by violinist Alexandre Dubach accompanied by the Orchestre Philharmonique de Monte-Carlo.
Composer:
Nicolò Paganini
Artist:
Alexandre Dubach (violin)
Orchestre Philharmonique de Monte-Carlo
Michel Sasson (conductor)
Lawrence Foster (conductor)
00:00:00 Violin Concerto No. 4 in D Minor: I. Allegro maestoso
00:16:44 Violin Concerto No. 4 in D Minor: II. Adagio flebile con sentimento
00:23:25 Violin Concerto No. 4 in D Minor: III. Rondo galante. Andantino gaio
00:34:10 Violin Concerto No. 1 in D Major, Op. 6: I. Allegro maestoso
00:54:15 Violin Concerto No. 1 in D Major, Op. 6: II. Adagio espressivo
00:59:28 Violin Concerto No. 1 in D Major, Op. 6: III. Rondo: allegro spirituoso
01:09:08 Violin Concerto No. 3 in E Major: I. Introduzione. Andantino — Allegro marziale
01:26:57 Violin Concerto No. 3 in E Major: II. Adagio. Cantabile spianato
01:34:13 Violin Concerto No. 3 in E Major: III. Polacca. Andantino vivace
01:46:22 Violin Concerto No. 6 in E Minor: I. Risoluto
02:07:04 Violin Concerto No. 6 in E Minor: II. Adagio
02:13:59 Violin Concerto No. 6 in E Minor: III. Rondo ossia polonese
02:25:27 Violin Concerto No. 5 in A Minor: I. Allegro maestoso
02:44:27 Violin Concerto No. 5 in A Minor: II. Andante un poco sostenuto
02:53:03 Violin Concerto No. 5 in A Minor: III. Rondo
03:03:37 Violin Concerto No. 2 in B Minor, Op. 7: I. Allegro maestoso
03:19:05 Violin Concerto No. 2 in B Minor, Op. 7: II. Adagio
03:26:05 Violin Concerto No. 2 in B Minor, Op. 7: III. Ronde à la clochette
Today’s talents will be tomorrow’s legends. Please Subscribe to our New channel @PAINTED.
Discover and Empower classical music Artists all around the World! www.youtube.com/channel/UCTdFciYWomCnjgKtOT6idXg
———
Johann Sebastian Bach (1685-1750) — St. Matthew Passion BWV244.
Oratorio in two parts for soloists, double choir and orchestra.
*Click to activate the English subtitles for the presentation* (00:00-07:26)
Part one
Kommt, Ihr Töchter, Helft Mir Klagen (00:00)
Da Jesus Diese Rede Vollendet Hatte (11:45)
Herzliebster Jesu, Was Hast Du Verbrochen (12:40)
Da Versammleten Sich Die Hohenpriester (14:09)
Ja Nicht Auf Das Fest (14:42) — Da Nun Jesus (15:00)
Wozu Dienet Dieser Unrat (15:41) — Da Das Jesus Merkete (16:17)
Du Lieber Heiland Du (18:10) — Buss Und Reu (19:15)
Da Ging Hin Der Zwölfen Einer (24:06) — Blute Nur, Du Liebes Herz (24:51)
Aber Am Ersten Tag Der Süssen Brot (30:05) — Wo Willst Du (30:19)
Er Sprach_ Gehet Hin (30:44) — Ich Bins, Ich Sollte Büssen (32:47)
Er Antwortete Und Sprach_ Der Mit Der Hand Mit Mir (34:21)
Wiewohl Mein Herz (38:19) — Ich Will Dir Mein Herze Schenken (39:50)
Und Da Sie Den Lobgesang (43:54) — Erkenne Mich, Mein Huter (45:18)
Petrus Aber Antwortete (47:10) — Ich Will Hier (48:29)
Da Kam Jesus (50:22) — O Schmerz! (52:29)
Ich Will Bei Meinem Jesu (55:35) — Und Ging Hin Ein Wenig (1:01:50)
Der Heiland Fällt (1:02:43) — Gerne Will Ich Mich Bequemen (1:04:05)
Und Er Kam Zu Seinen Jüngern (1:10:41)
Was Mein Gott Will (1:12:16) — Und Er Kam (1:14:20)
So Ist Mein Jesus Nun Gefangen (1:17:25)
Und Siehe, Einer Aus Denen (1:23:25)
O Mensch, Bewein Dein Sunde Groß (1:26:11)
Part two
Ach, Nun Ist Mein Jesus Hin (1:37:24) — Die Aber Jesum Gegriffen (1:42:53)
Mir Hat Die Welt (1:44:03) — Und Wiewohl Viel Falsche Zeugen Herzutraten (1:45:32)
Mein Jesus Schweigt (1:46:57) — Geduld, Wenn Mich Falsche Zungen Stechen (1:47:58)
Und Der Hohepriester (1:52:53) — Da Speieten Sie (1:54:55)
Wer Hat Dich So Geschlagen (1:55:43) — Petrus Aber Saß Draußen Im Palast (1:57:19)
Da Hub Er An, Sich Zu Verfluchen (1:58:43) — Erbarme Dich, Mein Gott (2:00:15)
Bin Ich Gleich Von Dir Gewichen (2:07:38) — Des Morgens Aber (2:09:16)
Und Er Warf Die Silberlinge (2:10:33) — Gebt Mir Meinen Jesum Wieder! (2:11:27)
Sie Hielten Aber Einen Rat (2:15:39) — Befiehl Du Deine Wege (2:18:33)
Auf Das Fest Aber Hatte (2:20:12) — Wie Wunderbarlich (2:23:02)
Der Landpfleger Sagte (2:24:26) — Er Hat Uns Allen Wohlgetan (2:24:40)
Aus Liebe Will Mein Heiland Sterben (2:26:00) — Sie Schrieen Aber Noch Mehr (2:30:45)
Erbarm Es Gott! (2:33:24) — Können Tränen Meiner Wangen (2:34:50)
Da Nahmen Die Kriegsknechte (2:44:30) — O Haupt voll Blut und Wunden (2:45:44)
Und da sie ihn verspottet (2:49:01) — Ja! Freilich Will In Uns Das Fleisch Und Blut (2:50:10)
Komm, süßes Kreuz (2:50:53) — Und da sie an die Stätte (2:57:32)
Desgleichen schmähten ihn (3:01:57) — Ach, Golgatha (3:02:15)
Sehet, Jesus hat die Hand (3:03:50) — Und von der sechsten Stunde (3:08:28)
Wenn ich einmal soll scheiden (3:11:21) — Und Siehe Da (3:13:41)
Am Abend, Da Es Kühle War (3:16:46) — Mache dich, mein Herze, rein (3:19:22)
Und Joseph nahm den Leib (3:29:42) — Nun ist der Herr (3:33:05)
Wir setzen uns mit Tränen nieder (3:35:25)
Sopran: Elisabeth Schwarzkopf
Alt: Christa Ludwig
Tenor: Peter Pears / Nicolai Gedda
Bariton: Dietrich Fischer-Dieskau
Bass: Walter Berry
Philarmonia Choir and Boys of Hampstead Parish Church Choir
Wilhelm Pitz ( Choir Master / Chef de Choeur)
Director: OTTO KLEMPERER
Recorded in 1961
Find CMRRs recordings on Spotify: spoti.fi/3016eVr
COMMENTAIRE COMPLET: VOIR PREMIER COMMENTAIRE ÉPINGLÉ
Nous savons que Bach ne dut pas être très satisfait de la manière dont fut exécutée sa plus grande oeuvre ce Vendredi Saint 1729; son memorandum nous le dit de façon très nette. Nous savons également que les musiciens de maintenant jouent dune manière tout à fait différente de celle de leurs collègues du XVII e siècle: nos instruments sont fabriqués, ajustés et joués tout à fait autrement; même nos chanteurs amateurs utilisent une autre technique vocale; et nous sommes tous aujourdhui très éloignés des méthodes dinterprétation entièrement spontanées des Leipzigois de Bach.
Nous ne pouvons espérer — et nous ne le voudrions pas dailleurs — exécuter la Passion selon Saint Matthieu comme elle fut entendue par les Leipzigois en 1729; nous pouvons seulement essayer de rendre la musique aussi proche que possible, après recherche et étude attentives, de ce que nous pensons être le voeu de Bach.
Spirits of Music is an unusual musical journey through the centuries, with stops on all continents. Inspired by their creators different faiths, the works on the program have a strong religious background and are moving examples of the emotional power and effect of music. Internationally renowned soloists and ensembles as Bobby McFerrin (a ten-time Grammy Award winner, he is one of the world’s best-known vocal innovators and improvisers, a worldrenowned classical conductor), Nigel Kennedy (one of the world’s leading violin virtuosos), Sibylla Rubens (has emerged as one of the most compelling lyric sopranos of her day) or the Gewandhaus Orchestra Leipzig will perform popular works from the European music tradition, encompassing Bach, Mozart and Verdi. Many magnificent examples of religious music come from artists as Kroke (playing and composing with the realm of authentic Jewish music), the Kuumba Singers (dedicated to the expression of black creativity and spirituality through song), Mari Boine (one of the most impressive folk artists of contemporary time), the Bulgarian Voices Angelite (24 women whose hypnotic chant circles the globe), Vocal Sampling (a Cuban six-man a cappella group which has been described as one of the wonders of the musical world) and the the Ensemble Al-Kindi (is currently rated among the best formations devoted to classical Arab music). With the inclusion of world music, the program will achieve a highly suspenseful juxtaposition of European and non-European music.
String instruments and especially the violin demanded a key position in Baroque music particularly in Italy. Like many of his contemporaries Tomaso Albinoni composed a large number of pieces for string ensemble and many concertos for the violin.
0:00:00 Concerto a cinque, Op. 9/2: D Minor for Solo Oboe and Strings: Allegro non presto
0:03:43 Concerto a cinque, Op. 9/2: D Minor for Solo Oboe and Strings: Adagio
0:07:57 Concerto a cinque, Op. 9/2: D Minor for Solo Oboe and Strings: Allegro
0:10:48 Concerto, Op. 7/2: C Major for two Oboes and Strings: Allegro
0:12:49 Concerto, Op. 7/2: C Major for two Oboes and Strings: Adagio
0:13:49 Concerto, Op. 7/2: C Major for two Oboes and Strings: Allegro
0:15:40 Concerto, Op. 7/6: D Major for Oboe Solo and Strings: Allego
0:18:21 Concerto, Op. 7/6: D Major for Oboe Solo and Strings: Adagio
0:20:01 Concerto, Op. 7/6: D Major for Oboe Solo and Strings: Allegro
0:22:15 Concerto à 5, Op. 9/9: C Major for two Oboes and Strings: Allegro
0:26:15 Concerto à 5, Op. 9/9: C Major for two Oboes and Strings: Adagio
0:28:45 Concerto à 5, Op. 9/9: C Major for two Oboes and Strings: Allegro
0:32:14 Concerto, Op. 7/8: D Major for two Oboes and Strings: (no tempo)
0:34:32 Concerto, Op. 7/8: D Major for two Oboes and Strings: Largo
0:36:30 Concerto, Op. 7/8: D Major for two Oboes and Strings: Allegro
0:38:16 Concerto à 5, Op. 9/5: C Major for Oboe and Strings: Allegro
0:41:36 Concerto à 5, Op. 9/5: C Major for Oboe and Strings: Adagio
0:43:33 Concerto à 5, Op. 9/5: C Major for Oboe and Strings: Allegro
0:46:42 Concerto, Op. 7/3: B-Flat Major for Oboe Solo and Strings: Allegro
0:49:29 Concerto, Op. 7/3: B-Flat Major for Oboe Solo and Strings: Adagio
0:51:32 Concerto, Op. 7/3: B-Flat Major for Oboe Solo and Strings: Allegro
0:53:45 Concerto, Op. 9/3: F Major for two Oboes and Strings: Allegro
0:58:15 Concerto, Op. 9/3: F Major for two Oboes and Strings: Adagio
1:00:29 Concerto, Op. 9/3: F Major for two Oboes and Strings: Allegro
1:04:25 Concerto à 5, Op. 9/11: B-Flat Major for Oboe and Strings: Allegro
1:08:28 Concerto à 5, Op. 9/11: B-Flat Major for Oboe and Strings: Adagio
1:11:08 Concerto à 5, Op. 9/11: B-Flat Major for Oboe and Strings: Allegro
1:14:28 Concerto, Op. 7/11: C Major for two Oboes and Strings: Allegro
1:17:15 Concerto, Op. 7/11: C Major for two Oboes and Strings: Adagio
1:19:06 Concerto, Op. 7/11: C Major for two Oboes and Strings: Allegro
1:21:42 Concerto à 5, Op. 9/8: G Minor for Oboe Solo and Strings: Allegro
1:25:43 Concerto à 5, Op. 9/8: G Minor for Oboe Solo and Strings: Adagio
1:27:49 Concerto à 5, Op. 9/8: G Minor for Oboe Solo and Strings: Allegro
1:31:27 Concerto, Op. 7/5: C Major for two Oboes and Strings: Allegro
1:33:19 Concerto, Op. 7/5: C Major for two Oboes and Strings: Adagio
1:34:48 Concerto, Op. 7/5: C Major for two Oboes and Strings: Allegro
1:36:09 Concerto, Op. 7/9: F Major for Oboe Solo and Strings: Allegro
1:38:39 Concerto, Op. 7/9: F Major for Oboe Solo and Strings: Adagio
1:39:36 Concerto, Op. 7/9: F Major for Oboe Solo and Strings: Allegro
1:41:59 Concerto à 5, Op. 9/6: G Major for two Oboes and Strings: Allegro
1:45:36 Concerto à 5, Op. 9/6: G Major for two Oboes and Strings: Adagio
1:47:59 Concerto à 5, Op. 9/6: G Major for two Oboes and Strings: Allegro
1:51:00 Concerto, Op. 7/12: C Major for two Oboes and Strings: Allegro
1:53:56 Concerto, Op. 7/12: C Major for two Oboes and Strings: Adagio
1:55:55 Concerto, Op. 7/12: C Major for two Oboes and Strings: Allegro
1:58:07 Concerto, Op. 9/12: D Major for two Oboes and Strings: Allegro
2:01:16 Concerto, Op. 9/12: D Major for two Oboes and Strings: Adagio
2:03:26 Concerto, Op. 9/12: D Major for two Oboes and Strings: Allegro
2:04:56 Concerto for Violin and Strings, Op. 9/1: B-Flat Major: Allegro
2:08:09 Concerto for Violin and Strings, Op. 9/1: B-Flat Major: Adagio
2:09:55 Concerto for Violin and Strings, Op. 9/1: B-Flat Major: Allegro
2:12:23 Concerto, Op. 9/10 in F Major for Violin and Strings: Allegro
2:15:52 Concerto, Op. 9/10 in F Major for Violin and Strings: Adagio
2:19:15 Concerto, Op. 9/10 in F Major for Violin and Strings: Allegro
2:22:44 Concerto, Op. 9/7: D Major for Violin and Strings: Allegro
2:26:14 Concerto, Op. 9/7: D Major for Violin and Strings: Andante e sempre piano
2:33:51 Concerto, Op. 9/7: D Major for Violin and Strings: Allegro
2:36:32 Concerto, Op. 9/4: A Major for Violin and Strings: Allegro
2:39:58 Concerto, Op. 9/4: A Major for Violin and Strings: Adagio
2:42:16 Concerto, Op. 9/4: A Major for Violin and Strings: Allegro
Artist:
Stefan Schilli (oboe)
Stuttgart Chamber Orchestra
This video brings together some of the best Instyle Alan Walker Remix, Animation Video and EDM, hope everyone likes it. Lets like, share and subscribe to motivate the next video!
▶ Next Video: youtu.be/EI1tvCq2kk4
#AlanWalker #AnimationVideo #EDMForYou
──────────────────────
⚠ If any producer or label has an issue with any of the uploads please get in contact (admin@edmforyou95.com) and it will be deleted immediately (this includes artists of the images used). Thank you!