Ilia Staple Vidéos
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2024-05-08
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Amando Buencamino - Veteranos de la Revolucion Overture (c. 1890s) (arr. for Rondalla) Performed by the Cainta Los Trobadores Rondalla / Veteranos de la Revolucion Overture was written during or after the Philippine Revolution. It was attributed to Amando Buencamino, an Aglipayan chaplain and officer of the Philippine Constabulary. Today, the piece is a staple of Philippine Brass Band Repertoire. The piece, although called Overture, is more of a tone poem in structure. After a dark and slow introduction, 4 distinct sections appear with trumpet calls and drum rolls dividing the section. The first section is a rousing and jubilant paso-doble militar, while the 2nd and 3rd section are Filipino dances - a fast Balitaw (Waltz) and a slow Danza (Habanera) respectively. Another paso-doble militar appears in the final section where it ends the Overture in a energetic manner. / Recording: (http•••) / Support this channel!: (http•••)
Staple Yo Yo Ma Johann Sebastian Bach Pablo Casals Keating Alfred Wallenstein Dimitry Markevitch Markevitch Battanchon Victor Herbert Carlo Alfredo Piatti Zara Nelsova Paul Bazelaire Franz Schmidt Gaetano Braga Raya Garbousova Ofra Harnoy Antonio Maria Bononcini Bononcini Misha Quint Bernhard Cossmann Auguste Franchomme Carlos Prieto Giovanni Sollima William Henry Squire Djokic Jacques Offenbach William Pleeth Meneses Claret Katz Schott Julian Lloyd Webber Lloyd Webber Webber Alisa Weilerstein Soyer Spalding Maurice Gendron Julius Klengel Anner Bylsma Sol Gabetta Heinrich Schiff Schiff Lynn Harrell Steven Isserlis Hauser Heitor Villa Lobos Emanuel Feuermann Jean Pierre Duport Duport
The cello is an extremely popular instrument and a staple in any orchestra. The cello is much deeper in sound than a violin but is still played with a bow. Some of historys greatest composers wrote for this powerful instrument, and, played without a symphony behind it the cello can be one of the deepest, most moving instruments in the world, especially when played by one of the musicians on this list, all of whom are considered as a best cellist! Who are the greatest cellists of all time? Who is the best cellist in the world?Since the cello has such a rich and unique sound it is often played without any other instruments; perhaps the most famous cellist of all time is Yo-Yo Ma who often prefers to play this instrument solo. He has become a household name in modern music, and brought classical music to a new generation as one of the greatest cellists and most famous cello players.This list features the all time greatest cellists ever and famous cello players, ranked by music lovers and including, Johann Sebastian Bach, Pablo Casals, Jacqueline du Pr, Zo Keating, Alfred Wallenstein, and Dimitry Markevitch. Vote up the best cello players below and see where the musicians you think are great rank!...more 0:00 - Intro 0:00:08 - Richard Aaron 0:00:15 - Hildur I. Gudnadttir 0:00:23 - Flix Battanchon 0:00:30 - Victor Herbert 0:00:37 - Andr Navarra 0:00:44 - Carlo Alfredo Piatti 0:00:51 - Zara Nelsova 0:00:58 - Paul Bazelaire 0:01:05 - Franz Schmidt 0:01:12 - Gaetano Braga 0:01:19 - Mark Summer 0:01:26 - Antonn Kraft 0:01:33 - Julia Kent 0:01:40 - Kanon Wakeshima 0:01:47 - Raya Garbousova 0:01:54 - Ofra Harnoy 0:02:01 - Friedrich Grtzmacher 0:02:08 - Antonio Maria Bononcini 0:02:15 - Misha Quint 0:02:22 - Bernhard Cossmann 0:02:29 - Auguste Franchomme 0:02:36 - Carlos Prieto 0:02:43 - Giovanni Sollima 0:02:50 - William Henry Squire 0:02:57 - Lev Aronson 0:03:04 - Denise Djokic 0:03:11 - Jacques Offenbach 0:03:18 - William Pleeth 0:03:25 - Antonio Meneses 0:03:32 - Llus Claret 0:03:39 - Paul Katz 0:03:46 - Yehuda Hanani 0:03:53 - Daniel Mller-Schott 0:04:00 - Julian Lloyd Webber 0:04:07 - Alisa Weilerstein 0:04:14 - Claus Adam 0:04:21 - David Soyer 0:04:28 - Dimitry Markevitch 0:04:35 - Jean Spalding 0:04:42 - Maurice Gendron 0:04:49 - Alfred Wallenstein 0:04:56 - Julius Klengel 0:05:03 - Anner Bylsma 0:05:10 - 0:05:17 - Benyamin Snmez 0:05:24 - Luka uli 0:05:31 - Zo Keating 0:05:38 - Sol Gabetta 0:05:45 - Heinrich Schiff 0:05:52 - Lynn Harrell 0:05:59 - Daniil Shafran 0:06:06 - Gautier Capuon 0:06:13 - Steven Isserlis 0:06:20 - Stjepan Hauser 0:06:27 - Heitor Villa-Lobos 0:06:34 - Truls Mrk 0:06:41 - Emanuel Feuermann 0:06:48 - Jean-Pierre Duport Music DreamHeaven - (http•••) Subscribe (http•••) About Us Welcome! Here are the ratings of everything that may interest you, you will definitely find something for yourself. Updated every day so you'll definitely have something to see for breakfast!
Frédéric Chopin Gagliano Franz Liszt Staple 2020
FRÉDÉRIC CHOPIN Sonata No. 2 in B-flat minor, Op. 35 Avery Gagliano, piano Performed on Wednesday, February 5, 2020 Field Concert Hall, Curtis Institute of Music, Philadelphia Frédéric Chopin wrote his second piano sonata in his late twenties. Born in Poland, Chopin was a child prodigy, wrote primarily for solo piano, and built a solid reputation during his short life as a leading composer of the Romantic era. This sonata became a quick favorite among the public. Particularly, the “Marche funèbre” (“Funeral March”) instantly captivated audiences. Franz Liszt, a friend of Chopin, called it a movement “of such penetrating sweetness that we can scarcely deem it of this earth.” It was performed at Chopin’s funeral, and has also been a part of the funerals of Winston Churchill, John F. Kennedy, and Margaret Thatcher. The sonata immediately grabs attention in the its first movement (Grave) with slow, dramatic octaves, foreshadowing the weight of emotion to come. The movement quickly shifts into double time, introducing the first theme with a constant stream of notes. A serene second theme provides relief, and Chopin continues to develop this movement until it concludes with three very loud, fortississimo B-flat major chords. The Scherzo’s whirlwind of octaves, chromatics, and leaping chords gives way to sublime beauty in its middle section. The Funeral March, composed two years before the rest of the sonata, displays a dramatic character ranging from deep tragedy to heartbreaking beauty. The finale (Presto) ushers in a flurry of octaves, sweeping over the keyboard in a technical feat until the B-flat minor chord of its final destination. This sonata has long been a staple of the piano repertoire and is frequently performed in concert halls and piano competitions. Just this past month, Curtis student Avery Gagliano won first prize at the National Chopin Competition and, in preparation, performed this sonata as a part of the Curtis Student Recital Series. —Hannah Horine Learn more about this work: (http•••) #CurtisIsHere Have you been following Curtis Is Here? Take our short survey, make your voice heard, and help us make our music posts even better! (http•••)
Sir Edward Elgar Mould Staple Schumann Proms 1890 1892 1918 1920 1931 2020
These charming pieces are less often heard now than much of Elgar's other work, not least since fewer folk go to church where they originally belong. The published set, probably written during Elgar's tenure of St George's, Worcester in the later 1880s, consists of nine pieces (one, a brief actual 'interlude'), of which we here offer three, each in triple-time, on a 'fast(ish)-slow-fast' model as a reconstituted suite-within-a-suite. Other more expansive Elgar works in this tripartite mould include the Organ Sonata in G (whose first movement was, for decades, a RCO exam staple) and various transcriptions of the Serenade for Strings; there are also arrangements of the Pomp & Circumstance Marches, but from the 2020 perspective we might fairly claim those have had their day ~ even no.4, which to Ian's mind is at least as fine a piece as no.1. Elgar himself later abjured the 'Land of Hope and Glory' lyrics, and in this 'woke' season of curtailed Proms there has been as much heat as light about whether, and/or how, those might yet be sung to maintain the Last Night tradition as 'Britain prepares to leave the EU' [*see footnote, below]. Much such commentary appears to emanate from nostalgic sentimentalists who would barely (as they almost say) know their Arne from their Elgar anyway, as to the British Isles' undoubtedly robust musical heritage. Regular Interludes viewers will know Ian had aimed to spend the back decan of August exploring the wild southwest of Ireland and in particular, the Ring of Kerry, of which he first became aware through Peter Hope's enchantingly atmospheric orchestral suite. Covid-19 and associated strictures having stymied that trip, the Malverns (with its own Elgar Route, in the heart of England) seemed a fair and pragmatic substitute. It bears observing that in 1920, Elgar was working mainly from Brinkwells, a fine secluded house near Fittleworth in Sussex ~ far nearer Ian's own newer stamping-ground, and with views towards the South Downs as an inspirational creative backdrop in place of Elgar's beloved Malverns. If such a swap was good enough for him, a reciprocal pilgrimage seems eminently reasonable! The three re-ordered Vesper Voluntaries were originally published in Book 26 of a clearly popular series aimed at jobbing parish organists, almost inevitably alongside less well-crafted, run-of-the-mill Victoriana that have not withstood subsequent changes in time and taste. Those whose first thought of Elgar is of the later, grey, walrus-moustached figure conducting 'Land of Hope ... ' at the 1931 opening of Abbey Road Studios, should delve further back into his youth: his active involvement in cycling (more or less all over the Malverns, except perhaps along the very hilltops); he was also a keen amateur chemist, and indeed a football fan. The 'Enigma Variations' are perhaps the most popular examples of him as a miniaturist, but there are abundant salon pieces, partsongs and the like, and, for string players that do eventually tire of 'Chanson de Matin', or indeed the Serenade, a wonderfully brooding Piano Quintet; not to mention the sublime Cello Concerto. Consciously avoiding the 4/4 time-signature with its potentially bombastic connotations, for present purposes we have a wistfully lilting 9/8 Allegro (surely anticipating the Serenade's [1892] opening movement); a seemingly maudlin, yet never treacly sentimental, Allegretto Pensoso ~ which works equally well as a Larghetto, not least with the intimate and contemplative original Vespers context in mind; and the insouciant Andantino, which Ian found, both playing it and while assembling bucolic scenery for the video, put him in mind of Schumann ('The Merry Peasant', beginning with the same rising fourth in the same key, plus several reminiscently folksy figures later within the piece). Ian would have loved proper summer weather in which to savour most fully Elgar's formative surroundings, but the cusp of autumn under typically ambivalent English skies, perhaps, helps 'underscore' that sense of melancholy that is usually there even in such seemingly smaller and gentler Elgar works. All the images were taken in and around the excellent Elgar Route in the final week of August 2020, and a return visit to paternal roots in Ledbury has helped renew Ian's own valued bond with another such undeniably beautiful part of the world. And now back over to Sir Edward, to express his love of that landscape in his unique, distinctive yet readily savourable idiom ... * From Elgar's diary, 11 November 1918: 'The war is over, thank God. What a terrible, cruel waste of life there has been. Alice and I went to the Coliseum tonight and they played Land Of Hope And Glory not once, but twice; the whole audience joined in. I could not. I regret very profoundly how this song has become an anthem to war. There's been so much sorrow and sacrifice over the past four years; nothing glorious about it. The world is a changed place and I am awfully tired of it.'
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