Wolfgang Amadeus Mozart Io ti lascio, o cara, addio Vídeos
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2024-04-29
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Cara Dev Holden Amato Mandel Bach Beethoven
Se inscreva no canal! (http•••) Nosso canal traz musicas relaxantes e classicas toda semana. Mozart Árias Complete. 01 - K.deest, Cara, se le mie pene 00:00:00 02 - K.19c, Va, dal furor portata 00:08:57 03 - K.23, Conservati fedele 04 - K.33i, Tali e cotanti sono 05 - K.61c, Sol nascente in questo giorno 06 - K.73b, Per pièta, bell'idol mio 07 - K.73c, Fra cento affani e cento 08 - K.73d, Per quel paterno amplesso 09 - K.73e, Misero pargoletto 10 - K.73o, Se ardire e speranza 11 - K.73p, Se tutti i mali miei 12 - K.74b, Non Curo l'affetto 13 - K.73p, Se tutti i mali miei 14 - K.209, Si mostra la sorte 15 - K.210, Con ossequio con rispetto 16 - K.217, Voi avette un cor fedele 17 - K.255, Ombra felice - Io ti lascio e questo addio 18 - K.256, Clarice cara mia sposa dev'essere 19 - K.272, Deh, non varcar quell'onda 20 - K.293e, Cara la dolce fiamma 21 - K.294, Alcandro lo confesso - Non so d'onde viene 22 - K.294, Alcandro, lo confesso - Non so d'onde viene 23 - K.295, Se al labbro mio non credi 24 - K.295a, Se al labbro mio non credi 25 - K.295a, Basta vincesti; Ah, non lasciarmi 26 - K.300b, Io non chiedo, eterni Dei 27 - K.368, Sperai vicino il lido 28 - K.369, Ah non son io che parlo 29 - K.374, Or che il cielo a me ti rende 30 - K.382h, Der Liebe himmlisches Gefuehl 31 - K.383, Nehmt meinen Dank, ihr holden Gonner 32 - K.383h, In te spero, o sposo amato, 33 - K.386d, O Calpe! Dir donnert's am Fusse 34 - K.416, Ah non sai qual pena sia 35 - K.416b, MuBt ich auch durch tausend Drachen 36 - K.416c, Manner suchen stets zu naschen 37 - K.417e, Ah! spiegarti, oh Dio, vorrei 38 - K.418, Vorrei spiegarvi, oh Dio 39 - K.419, No, che non sei capace 40 - K.420, Per pieta, non ricercate 41 - K.421a, Aspri rimorsi atroci 42 - K.425b, Misero! O sogno, o son desto 43 - K.441, Liebes Mandel, wo is's Bandel 44 - K.479, Dite almeno in che mancai 45 - K.480, Mandina amabile, auesto danaro 46 - K.480b, Del gran regno delle amazzoni 47 - K.505, Non temer, amato bene 48 - K.512, Non so d'onde viene 49 - K.513, Mentre ti lascio, o figlia 50 - K.528, Resta, oh cara, 51 - K.532, Grazie agl'inganni tuoi 52 - K.538, Ah se in ciel, benigne stelle, 53 - K.539, Ich möchte wohl der Kaiser zein 54 - K.541, Un bacio di mano 55 - K.552, Dem hohen Kaiserworte treu 56 - K.571a, Caro mio Druck und Schluck 57 - K.578, Alma grande e nobil core 58 - K.580, Schon lacht der holde Fruehling 59 - K.582, Chi sa, chi sa qual sia, 60 - K.583, Vado, ma dove, oh Dei! 61 - K.592a, Nun, liebes Weibchen, ziehst mit mir 62 - K.612, Per questa bella mano 63 - K.621a, Io ti lascio, oh cara, addio As pessoas tambem buscam por: música para relaxar, músicas para relaxar, musica de meditacao, musica de relaxar, música de relaxar, musica p relaxar e dormir, musica para acalmar bebe, musica para acalmar bebê, musica para meditacao, musica para relaxar e dormir, musica relaxante, música relaxante, musica relaxar, musica para dormir, musica para acalmar a mente, musica de yoga musica para fazer yoga, mozart, j.s. bach bach, beethoven, w. a. mozart,
Wolfgang Amadeus Mozart Leopold Hager Lucia Popp Thomas Moser Moser Lilian Sukis Gruberova Robert Lloyd Lloyd Julie Kaufmann Kaufmann Edith Mathis Francisco Araiza Mozarteum Orchester Salzburg 1765
Introduction to the present series of postings: The Austrian maestro's concert arias are, perhaps, the best introduction to the composer, as they constitute a breathtaking display of Mozart's ease in all matters musical. The numerous alternative pieces for his own operas and a number of independent ensembles notwithstanding, Mozart composed at least fifty four independent arias to be performed as concert pieces or to be inserted into his contemporaries' operas. Considering the concert arias as an informal cycle, none of them can be faulted on a technical level, as they all develop in a manner natural to the epoch, feature at least a few interesting touches in an ornamental coloration or orchestral phrase and work well as showpieces for capable soloists, and ever so often a masterpiece of the most wondrous richness appears among the works. The passionate "Si mostra la sorte", the noble "Io ti lascio", the mesmerizing "Ah, lo previdi", the unearthly "Vorrei spiegarvi" or the bubbling "Per questa bella mano" are just a few examples of Mozart at his most inspired. In this series of three postings I hope to create as complete an overview of the arias as possible. The first two postings will be dedicated solely to the concert arias proper, as discussed above, while a third upload will include excerpts from the alternative arias Mozart wrote for his own operas, as well as the maestro's independent ensembles. To achieve this, I've reduced the number of concert arias to thirty pieces. There is no strict order in which the arias appear in the uploads; instead, they are placed liberally to provide a contrast to one another, though I did follow the logic of the Kochen catalogue. Each presented piece is prefaced by a description, as well as a link to a full version available on YouTube for further listening. Recording: There is no definitive version of the concert arias as a cycle, however, the Philips compilation comes as close as one could possibly hope for, uniting a determined principal conductor in Leopold Hager with his fresh Mozarteum-Orchester Salzburg and a winning team of well-established singers. Lucia Popp - KV 70/78/79/272/294. Thomas Moser - KV 36. Lilian Sukis - KV 82. Edita Gruberova - KV 88. Robert Lloyd - KV 245. Julie Kaufmann - KV 83. Edith Mathis - KV 77/217. Claus H. Ahnsjo - KV 210. Hanna Shwarz - KV 255. Francisco Araiza - KV 209. Hope you'll enjoy =). P.S. The second posting of the series should appear in about a week =B.
Giuseppe Bonno Pergolesi Sassonia Gluck Mozart Salieri 1711 1774 1788
Sanctus & Benedictus per coro, archi, oboi, corni ed organo dalla Messa di Requiem di Giuseppe Bonno +••.••(...)) del 1774. Bonno , di origini italiane e allievo di Durante e Leo a Napoli (insieme a Pergolesi), fu per mezzo secolo apprezzato compositore e musicista di corte a Vienna. E' interessante la svolta (verso la musica sacra) intrapresa da Bonno negli anni '50-60 del '700: fu il periodo in cui cedette il posto di direttore dell'orchestra del principe Giuseppe Federico di Sassonia a Gluck, oltre al periodo in cui conobbe il giovane Mozart. Il periodo in cui, infine, affiancò a sé Salieri cui poi lasciò il posto di maestro di cappella. E' probabile che tale svolta fosse dovuta all'aver percepito che il proprio stile, basato sull'opera seria italiana, fosse ormai al tramonto, A Sanctus & Benedictus from one of the two Requiem Masses by Giuseppe Bonno, composer and musician in Vienna during half a century just before Gluck, Mozart and Salieri. He had studied in Naples with Leo and Durante, and probably felt, in the last 20 years of his life, how his own music, based on the Italian opera seria, was at its decadence, menaced by the freshness of the new composers like Gluck. Therefore he turned in his last years almost exclusively to sacred music. Score / Partitura: (http•••)
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