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Wolfgang Amadeus Mozart (1756-1791) — Piano Concertos 11,12,13,14,17,18,19.
*Click to activate the English subtitles for the presentation* (00:00-06:45)
A very big « THANKS » to Sony Music who authorized us to release this recording.
Piano Concerto #11 in F major, K.413_ I.Allegro (00:00)
Piano Concerto #11 in F major, K.413_ II.Larghetto (09:24)
Piano Concerto #11 in F major, K.413_ III.Tempo di menuetto (17:14)

Piano Concerto #12 in A major, K.414_ I.Allegro (23:04)
Piano Concerto #12 in A major, K.414_ II.Andante (32:41)
Piano Concerto #12 in A major, K.414_ III.Rondo. Allegretto (41:06)

Piano Concerto #13 in C major, K.415_ I.Allegro (47:39)
Piano Concerto #13 in C major, K.415_ II.Andante (58:15)
Piano Concerto #13 in C major, K.415_ III.Rondeau_Allegro-Adagio-Allegro (1:05:43)

Piano Concerto #14 in E flat major, K.449_ I.Allegro vivace (1:14:04)
Piano Concerto #14 in E flat major, K.449_ II.Andantino (1:23:08)
Piano Concerto #14 in E flat major, K.449_ III.Allegro ma non troppo (1:29:10)

Piano Concerto #17 in G major, K.453_ I.Allegro (1:35:41)
Piano Concerto #17 in G major, K.453_ II.Andante (1:47:16)
Piano Concerto #17 in G major, K.453_ III.Allegretto — Finale_ Presto (1:56:19)

Piano Concerto #18 in B flat major, K.456_ I.Allegro vivace (2:04:33)
Piano Concerto #18 in B flat major, K.456_ II.Andante un poco sostenuto (2:16:26)
Piano Concerto #18 in B flat major, K.456_ III.Allegro vivace (2:26:43)

Piano Concerto #19 in F major, K.459_ I.Allegro (2:34:12)
Piano Concerto #19 in F major, K.459_ II.Allegretto (2:46:43)
Piano Concerto #19 in F major, K.459_ III.Allegro assai (2:55:02)

Piano: Lili Kraus
Vienna Festival Orchestra
Direction: Stephen Simon
Recorded in 1965-66
New Mastering 2017 by AB for CMRR
Find CMRRs recordings on Spotify: spoti.fi/3016eVr

COMMENTAIRE COMPLET: VOIR PREMIER COMMENTAIRE ÉPINGLÉ.
La véritable conception du concerto, l’essence du genre consiste dans la lutte qui se livre entre lorchestre, dune part, et linstrument ou le groupe dinstruments solos de lautre. Cette lutte est entrecoupée de trêves pendant lesquelles orchestre et soliste collaborent amicalement, et elle se termine par une réconciliation; elle nen est pas moins une lutte véritable. Tantôt, les armes sont communes aux deux adversaires: ce sont les thèmes principaux qui reviennent dans les soli et dans les tuttis; tantôt, chacun a les siennes: ce sont dautres thèmes réservés au soliste, et dautres, enfin, qui nappartiennent quà lorchestre.

Les péripéties de la lutte sont diverses: elle peut rester indécise et solo et orchestre se renvoient alors les thèmes de lun à lautre; le tutti peut remporter une victoire momentanée et claironner bruyamment son triomphe; ou bien, le soliste, à coups daccords, de gammes et darpèges, peut voir ses efforts couronnés de victoire, et, dans un trille étincelant, narguer lorchestre vaincu. Mais, quelle que soit lissue momentanée, nous savons quen fin de compte ni lun ni lautre ne triomphera et que la dernière cadence scellera paix et alliance entre les ennemis réconciliés.

Or, de tous les concertos, ceux de Mozart forment le groupe le plus important. Cest une raison pour laquelle ils ont droit à une étude spéciale. Il en existe une autre. Il ny a pas, dans toute lœuvre de leur compositeur, de genre où il se soit exprimé dune manière aussi complète. Ses concertos pour piano, échelonnés à travers ses années depuis sa dix-huitième jusquà sa trente-sixième, nous le présentent à tous les âges; ils constituent le témoignage le plus varié et le plus étendu de sa vie artistique.

Nous y retrouvons ses joies et ses tristesses, ses espérances et ses déceptions; nous pénétrons par eux dans ce sanctuaire intérieur, où lhomme harassé et surmené retrouvait la vie fraîche et rayonnante qui ne cessa jamais de renaître au fond de son coeur. Dans presque tous les genres si divers où il a prodigué ses richesses, on trouve une ou deux œuvres qui comptent parmi ses plus belles, mais aucun de ces genres n’offre une succession de chefs-dœuvre aussi abondante que celle des concertos pour piano.

Mozart — Piano Concertos 9 Jeunehomme,15,16,1,2,3,4,5,6,8 (Centurys recording: Lili Kraus/Simon)
www.youtube.com/watch?v=FHwmL8Md22w

From the Festival d’Ambronay, 2012
Contralto Nathalie Stutzmann conducts violinist Satomi Watanabe and Orfeo 55
Johann Sebastian Bach — Saint Matthew Passion «Ebarme Dich, mein Gott» BWV 244

Click here to watch other concerts at the Festival dAmbronay: bit.ly/ConcertsFestivaldAmbronay
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Satomi Watanabe — violinist
Nathalie Stutzmann — contraalto and conductor
Orfeo 55

A coproduction of
Ozango — Le Festival d’Ambronay
with the participation of France Télévisions
in association with M_Media
with the support of Centre National du Cinéma et de limage animée

Video director: Isabelle Soulard

Provided to YouTube by The Orchard Enterprises

St. Matthew Passion, BWV 244: Part II. No. 47, Erbarme dich, mein Gott (Recorded 1946) · Marian Anderson · Johann Sebastian Bach · RCA Symphony Orchestra · Robert Shaw

Marian Anderson in Oratorio and Spiritual Vol. 1

℗ 1996 Nimbus Records Limited

Released on: 1996-01-01

Auto-generated by YouTube.

To celebrate the 200th birthday of Ludwig van Beethoven, Glenn Gould performed «The Bicentennial Concert“, produced by Mario Prizek and originally broadcast on 9th December, 1970.
Part 2
00:00 Adagio un poco moto — attacca
07:35 Rondo. Allegro

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

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): brilliant-classics.lnk.to/MozartGreatPianoConcertosVol1
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Check out part 2 here: www.youtube.com/watch?v=uaxHxTD6__g

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Composer: Wolfgang Amadeus Mozart
Artists: Derek Han (piano), Philharmonia Orchestra and Paul Freeman (conductor)
This an issue of series consisting of 14 3CD-sets with selected highlights taken from our complete edition. This part contains the following works: No. 1 K. 37, No. 11 K. 413, No. 15 K. 450, No. 20 K. 466, No. 21 K. 467 “Elvira Madigan”, No. 22 K. 482, No. 23 K. 488, No. 25 K. 503.

Tracklist:

Piano Concerto No. 15 In B-Flat Major, K 450:
0:00:00 I. Allegro
0:11:04 II. Adagio
0:16:24 III. Allegro Assai

Piano Concerto No. 11 In F Major K 413:
0:24:16 I. Allegro
0:33:29 II. Larghetto
0:41:05 III. Tempo Di Menuetto

Piano Concerto No. 23 In A Major K 488:
0:46:28 I. Allegro
0:57:16 II. Andante
1:03:31 III. Allegro

Piano Concerto No. 21 in C Major, K 467 «Elvira Madigan»:
1:11:30 I. Allegro
1:26:09 II. Andante
1:32:57 III. Allegro Vivace Assai

Piano Concerto No. 1 In F Major, K 37:
1:40:31 I Allegro
1:45:51 II. Andante
1:51:22 III. Allegro

Piano Concerto No. 25 In C Major, K 503:
1:56:19 I. Allegro Maestoso
2:13:38 II. Andante
2:21:01 III. Allegretto

Piano Concerto No. 20 In D Minor, K 466:
2:30:59 I. Allegro
2:44:54 II. Romanze
2:53:18 III. Allegro Assai

Piano Concerto No. 22 In E-Flat Major, K 482:
3:01:09 I. Allegro
3:15:10 II. Andante
3:24:02 III. Allegro

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St Matthew Passion, BWV 244, Pt. 1: Chorale. «Herzliebster Jesu, was hast du verbrochen» · Nikolaus Harnoncourt · Choir of Kings College, Cambridge · Regensburger Domspatzen

Bach: St Matthew Passion, BWV 244

℗ 1970 TELDEC CLASSICS INTERNATIONAL GMBH

Choir: Choir of Kings College, Cambridge
Orchestra: Concentus Musicus Wien
Conductor: Nikolaus Harnoncourt
Chorus: Regensburger Domspatzen
Composer: Johann Sebastian Bach

Auto-generated by YouTube.

Das «Air» von Johann Sebastian Bach aus der 3. Suite für Orchester (D-Dur; BWV 1068), 2. Satz. Einfach zurücklehnen, ins Grüne schauen und genießen.

The «Air» by Johann Sebastian Bach from the 3rd orchestral suite (D minor; BWV 1068), 2nd movement. Just lean back, look into the green and enjoy.

Photo 2005 by Nebelwarner: Forest at the «Venner Moor» near the city of Senden (German state North Rhine-Westphalia).

From the Kings College Chapel in Cambridge
Rogers Covey-Crump — tenor (Evangelist)
Michael George — bass (Jesus)
Emma Kirkby — soprano
Michael Chance — alto
Martyn Hill — tenor
David Thomas — bass
The Choir of Kings College Cambridge
The Choir of Jesus College Cambridge (Soprano in ripieno)
The Brandenburg Consort (Roy Goodman — leader)
Stephen Cleobury — conductor

1:00 Part One

1. Kommt, ihr Töchter, helft mir klagen – O Lamm Gottes unschuldig (Chorus I

Johann Sebastian BACH (1685-1750)
Erbarme dich, mein Gott
Aria (No. 39) from the oratorio Matthäuspassion, BWV 244
Text: Picander (1700-1764)
First performance: probably 11 April 1727, in Leipzig (Thomaskirche)

Delphine Galou, contralto
François-Marie Drieux, solo violin
Les Siècles,
conducted by François-Xavier Roth
Recorded in Summer 2008?

German text:

Erbarme dich, mein Gott, um meiner Zähren willen!
Schaue hier, Herz und Auge weint vor dir bitterlich.

English translation:

Have mercy, my God, for the sake of my tears!
See here, before you heart and eyes weep bitterly.

Marc D.