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Pyotr Ilyich Tchaikovsky Anna Vinnitskaya Sergei Prokofiev Kirill Petrenko Kulturpalast Dresden Salzburg Festival Berliner Philharmoniker 1840 1875 1876 1893 2019 2021
The lightness and delicacy of Anna Vinnitskaya’s performance of Tchaikovsky’s April: Snowdrop beautifully echoes the falling of the snowdrops. The Russian pianist played the piece as an encore at her concert in December 2019 at the Kulturpalast Dresden. Pyotr Ilyich Tchaikovsky +••.••(...)) composed April: Snowdrop as part of The Seasons Op. 37b, a twelve-piece solo piano cycle, in 1875 and 1876. While working on his iconic ballet Swan Lake, Tchaikovsky was commissioned by literary editor Nikolay Bernard to compose twelve short piano pieces representing the twelve months of the year – to be released in monthly installments in Bernard’s journal Nuvellist. Each piece representing a month was published with a complementary poem chosen by Nikolay Bernard. The piece for the month of April, entitled April: Snowdrop, is accompanied by the following epigraph by the Russian poet Apollon Maykov: “The blue, pure snowdrop-flower, and near it the last snowdrops. The last tears over past griefs, and first dreams of another happiness.” Anna Vinnitskaya has won numerous prizes at prestigious piano competitions. In 2019, she made her debut with the Berliner Philharmoniker with the 2nd Piano Concerto by Sergei Prokofiev. She also performed with the Berlin Philharmonic under the baton of Kirill Petrenko at the Salzburg Festival in 2021. Vinnitskaya is a professor of piano at the Hamburg University of Music and Theatre (HfMT). EuroArts Music International Watch more concerts in your personal concert hall: (http•••) Subscribe to DW Classical Music: (http•••) #Tchaikovsky #TheSeasons #AnnaVinnitskaya
Dresden Philharmonic Johann Strauss Jr Franz Lehár Paganini Marek Janowski 1613 2021
Dresden Philharmonic New Year's Eve Gala 2021 Johann Strauss, jr. [00:00] - Ouverture to the operetta The Gypsy Baron Johann Strauss, jr. [07:44] - Klänge der Heimat - Sounds of home, Czardas from the operetta The Bat Franz Lehár [12:18] - Gern hab ich die Frau'n geküsst - I have loved to kiss the women from the operettra Paganini Franz Lehár [16:13] - Vilja song from the operetta The merry Widow Franz Lehár [21:45] - Niemand liebt dich so wie ich - Nobody loves you like me Duet from the operettra Paganini Franz Lehár [27:32] - Gold and silver. Waltz, op. 79 Franz Lehár [36:10] - Dein ist mein ganzes Herz - All my heart is yours from the operetta The land of smiles Franz Lehár [39:41] - Lippen schweigen - Lips are silent from the operetta The merry Widow Johann Strauss, jr. [43:09] - Unter Donner und Blitz - Under thunder and lightning, Polka fast, op. 324 Dresden Philharmonic Marek Janowski, conductor Recorded on 30.12.2021 at the Kulturpalast (Palace of Culture) Dresden Note: The concert was recorded without audience
Pyotr Ilyich Tchaikovsky Marek Janowski Dresden Philharmonic Kulturpalast Dresden 1732 1840 1893 2019
Tchaikovsky's Symphony No. 6 in B minor, Op. 74, also known as 'Pathétique', is one of the very great symphonies in the history of music. The famous work was performed by the Dresden Philharmonic Orchestra conducted by Marek Janowski in this concert at the Kulturpalast Dresden 2019. (00:00) I. Adagio - Allegro non troppo (17:32) II. Allegro con grazia (24:54) III. allegro molto vivace (33:49) IV. Finale: Adagio lamentoso Pyotr Ilyich Tchaikovsky +••.••(...)) took just a few months to compose the Sixth Symphony and he conducted its premiere himself in St. Petersburg on October 28, 1893. Initially Tchaikovsky had called his Sixth 'A Programme Symphony', but after the premiere he unceremoniously gave it the epithet 'Pathetique' – and that is how it has gone down in history. According to Tchaikovsky, the actual program is full of subjective emotions and is meant to remain a mystery. The 6th Symphony is characterized by a mixture of conventional symphonic structure and certain tragic features. Tragic, for example, is the key of B minor, which is considered somber, and the motif of the falling second, which runs through the entire work like a lament. The sweeping third movement, which seems like a triumphant finale, is surpassed by the fourth movement, which has always been interpreted as a requiem that Tchaikovsky wrote to himself in advance since the Russian composer died only a few days after the premiere of his Symphony No. 6, which received a restrained response. The second performance of the Pathétique, on the other hand, was a great success, and to this day this frequently performed work is an audience favorite. Tchaikovsky's Pathétique Symphony owes its fame not least to the yearning, melancholy second theme from the first movement (04:32). EuroArts Music International Watch more concerts in your personal concert hall: (http•••) Subscribe to DW Classical Music: (http•••) #tchaikovsky #pathetique #symphony
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