Podcasts about adagio allegro

Charles Gounod (1818 – 1893) – Sinfonia n. 1 in re maggiore1.       Allegro molto 0:002.       Allegretto moderato 6:153.       Scherzo & Trio. Non troppo presto 12:304.       Finale. Adagio - Allegro vivace 19:50 Orchestra of St. John's John Lubbock, conductor

Ein paar Prominente hat sie doch interviewt, Heidi Abel, die zwei Jahre lang «Musik für einen Gast» moderiert hat und deren Sendungen im Zentrum dieser Serie steht. Einer davon ist der SP-Bundesrat Willi Ritschard. Wenige Wochen vor seinem Tod spricht er über sein Leben und seine Karriere. Willi Ritschards Auftritt in dieser Sendung ist so, wie man ihn in Erinnerung hat. Zurückhaltend und sympathisch. Aufgewachsen im solothurnischen Deitingen in einfachen Verhältnissen wird er Heizungsmonteur und schliesst sich der Gewerkschaftsbewegung an. Er bildet sich weiter in einer Arbeiterschule und wird 1943 hauptamtlicher Sekretär der Sektion Solothurn des Schweizerischen Bau- und Holzarbeiterverbands. Mit 29 Jahren wird er Gemeindepräsident in seiner Wohngemeinde Luterbach, später Kantonsrat, Nationalrat und Solothurner Regierungsrat. 1973 erfolgte die Wahl in den Bundesrat, wo er zuerst Verkehrs-, dann Finanzminister war. Als ausserordentlich beliebter Politiker, der aber immer auch unter der Bürde des Amtes gelitten hat, verstirbt Willi Ritschard am 16. Oktober 1983 im Amt nur wenige Tage nach seiner Rücktrittserklärung auf Ende Jahr. Und auch nur wenige Wochen nach der Ausstrahlung dieses Gespräches mit Heidi Abel. Sendung vom 11.9.1983 Die Musiktitel Stadtmusik Baden – Alte Kameraden. Marsch von Carl Theike Kurt Brogli, Leitung Peter Zinsli und Sini Schwyzerörgelifründa Der Heimatvogel (shet e Heimatvogel gsunge) von Carl Reinhard Hess Musikschule Biberist / Schülerchor / Theo Frei, Leitung Ludwig van Beethoven – 4. Adagio - Allegro molto e vivace aus der 1. Sinfonie in C-Dur , op. 21 Berliner Philharmoniker / Herbert von Karajan, Leitung Hertz – Willi Ritschard Giuseppe Verdi – Gloria allEgitto, Marica trionfale, Ballabile aus der Oper Aida New Philharmonia Orchestra / Orchestra of the Royal Opera House, Coven Garden / Riccardo Muti, Leitung Hab oft im Kreise der Lieben von Friedrich Silcher und Ruedi Frischkopf Männerchor Harmonie Willisau / Männerchor Ebersecken / Ruedi Frischkopf, Leitung

BRUCKNER: Sinfonía nº 5 en Si bemol mayor (Primer y segundo movimientos: Adagio-Allegro, Adagio) (41.23). Orq. Sinf. de Chicago. Dir.: G. Solti. Mazurka en La menor (1.37). C. Eggner (fortep.).Escuchar audio

Antonin Dvoràk (1841 - 1904) - Sinfonia n. 9 in mi minore "Dal Nuovo Mondo", op. 95I. Adagio – Allegro molto        II. Largo                                 III. Scherzo. Molto vivace    IV. Allegro con fuoco             Wiener PhilharmonikerKirill Kondrashin, conductor

Chillout Classic w Radiu Spin #37 "Świątecznie" z dnia 21 grudnia. 1. J.S. Bach - Aria z Wariacji Golbergowskich oraz wariacje 3 i 12, Tymoteusz Bies. 2. A. Corelli - Concerto grosso g-moll, op.6, nr 8 "Na Boże Narodzenie", cz.1 Vivace - Grave, cz.3 Adagio- Allegro, cz.6 Pastorale: Largo, The English Concert, Trevor Pinnock. 3. Sting - Now Winter Comes Slowly. 4. J.S.Bach - Oratorium na Boże Narodzenie BWV 248 Part I, nr 5 Chorał, nr 6 Evangelista, nr 7 Chorał i Recitativ(bass), English Baroque Soloists, John Eliot Gardiner 5. R. Korsakov - Christmas Eve: Procesja Oksany i Wakuły. 6. P. Czajkowski - Dziadek do Orzechów: Uwertura, Dekorowanie choinki, Taniec arabski , Taniec chiński, Berliner Philharmoniker, Sir Simon Rattle. 7. Danny Elfman -Making Christmas. 8. Christmas Love Song - Scott Hamilton. 9. Driving Home for Christmas - Chris Rea.

F. Schubert (1797-1828) - Sinfonia n. 5 in si bemolle maggiore D 485I. Adagio – Allegro vivace ∙II. AndanteIII. Menuetto. Allegretto – Trio – MenuettoIV. Allegro vivaceOrchestra of the Age of EnlightenmentCharles Mackerras, conductor ************* F. Schubert (1797-1828) - Sinfonia n. 1 in re maggiore D 82I. Adagio - Allegro vivaceII. AndanteIII. Menuetto. Allegro - TrioIV. Allegro vivaceChamber Orchestra of EuropeClaudio Abbado, conductor

Wilhelm Friedemann Bach (1710 – 1784) 1. Symphony in fa maggiore, F 67 "Dissonance Symphony"01. Vivace 02. Andante03. Allegro04. Menuetto I & II 2. Ertönet, ihr seligen Völker, F 88: Symphony in fa maggiore01. Un poco allegro  3. Symphony in re minore, F 65 01. Adagio - Allegro e forte  4. Symphony in re maggiore, F 64 (aus der Kantate Dies ist der Tag, da Jesu Leidenskraft)01. Allegro e maestoso 02. Andante03. Vivace 5. Symphony in re maggiore, F 91 (aus der Kantate Wo geht die Lebensreise hin)01.   Sinfonia  6. Symphony in sol maggiore, F 92 (aus der Kantate O Wunder)01. Allegro assai  7. Suite (Overture) For orchestra in sol minore, BWV 1070 (Wilhelm Friedemann Bach?)01. Larghetto - Un poco allegro 02. Torneo03. Aria: Adagio04. Menuetto alternativo - Trio05. Capriccio

Francesco Durante (1684 - 1755) - Litanie della Beata Maria VergineMichael Alexander WillensRoberta MameliUrsula EittingerAndreas PostStephan MacLeodKölner Akademie W. A. Mozart (1756 – 1791) - Litaniae de Beatissimae Mariae Virginae in re maggiore KV 195 (186d)- (Adagio - Allegro)  Kyrie eleison - (Andante)  Sancta Maria- (Adagio)  Salus infirmorum - (Allegro con spirito)  Regina angelorum - (Adagio)  Agnus Dei Barbara Bonney, soprano; Elisabeth von Magnus, alto; Uwe Heilmann, tenor; Gilles Cachemaille, bass; Arnold Schoenberg Chor; Concentus Musicus, Nikolaus Harnoncourt, conductor

Mozart composed his first string quintet at age 17 and his last in the year of his death, so it might seem that he wrote string quintets across the span of his career, but that is not the case. His first quintet was a foray into new territory for the young composer, and then Mozart set the form aside for fourteen years — his final five quintets were all created in the last four years of his life. As such, they represent some of his most sophisticated musical thinking. They offer wonderful music, exhilarating to hear (and to play!), sometimes very moving, and always very beautiful. In his quintets, Mozart did not set out to make the viola the star, but the addition of the extra viola offered him a broader canvas and unlocked new possibilities. His quintets generate a richer, fuller sound….and they offer increased opportunities to contrast different groupings of instruments and sonorities….(two of these quintets are among his longest chamber works, longer in fact than any of his symphonies).TracksDisc 1String Quintet in B-Flat Major, K. 174 (26:43) I. Allegro Moderato (9:29) II. Adagio (7:19) III. Menuetto ma Allegro (4:03) IV. Allegro (5:54) String Quintet in C Major, K. 515 (36:39) I. Allegro (14:02) II. Menuetto: Allegretto (6:13) III. Andante (8:41) IV. Allegro (7:43) Disc 2String Quintet in G Minor, K. 516 (34:09) I. Allegro (10:52) II. Menuetto: Allegretto (5:27) III. Adagio ma non troppo (7:59) IV. Adagio – Allegro (9:51) String Quintet in C Minor, K. 406 (K. 516b) (23:10) I. Allegro (8:55) II. Andante (3:57) III. Menuetto in canone (3:50) IV. Allegro (6:28) Disc 3String Quintet in D Major, K. 593 (27:04) I. Larghetto – Allegro (10:02) II. Adagio (6:23) III. Menuetto: Allegretto (5:24) IV. Allegro (5:16) String Quintet in E-Flat Major, K. 614 (24:45) I. Allegro di molto (7:39) II. Andante (7:22) III. Menuetto: Allegretto (4:07) IV. Allegro (5:36) Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Frederick Septimus Kelly, born in Sydney in 1881, was on the way to becoming one of Australia's most important early composers when he was killed during the Battle of the Somme in 1916. The three works recorded here – for the first time – underline just how grievous was that loss, not only for Australia but for the musical world more generally. Kelly's D minor Violin Sonata is an astonishingly assured work for a twenty-year-old student composer; his Serenade for flute and piano exudes good-natured charm; and the two surviving movements of his Piano Trio – which have a Brahmsian intensity – suggest that he would have been one of the major composers of the twentieth century.TracksViolin Sonata No. 1 in D minor (1901) (26:06) I. Adagio – Allegro vivace (10:33) II. Andantino (5:17) III. Allegro vivace (10:16) Serenade for Flute and Piano, Op. 7 (1911) (22:18) I. Prelude (3:16) II. Idyll (7:13) III. Minuet (2:11) IV. Air and Variations (6:24) V. Jig (3:14) Piano Trio (c. 1905?) (17:21) I. Lento (moderato) (12:27) II. Scherzo and Trio (Presto) (4:54) Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Jesus Ministries, Joan Boney  ...    Numbers 10   33 And they departed from the mount of the LORD three days' journey: and the ark of the covenant of the LORD went before them in the three days' journey, to search out a resting place for them.   34 And the cloud of the LORD was upon them by day, when they went out of the camp.   35 And it came to pass, when the ark set forward, that Moses said, Rise up, LORD, and let THINE enemies be scattered; and let them that hate THEE flee before THEE.   (Enemies of God part like the Red Sea before us.)   36 And when it rested, he said, Return, O LORD, unto the many thousands of Israel.  

Jesus Ministries, Joan Boney  ...    Exodus 19   1 In the third month, when the children of Israel were gone forth out of the land of Egypt, the same day came they into the wilderness of Sinai.   2 For they were departed from Rephidim, and were come to the desert of Sinai, and had pitched in the wilderness; and there Israel camped before the mount.   3 And Moses went up unto God, and the LORD called unto him out of the mountain, saying, Thus shalt thou say to the house of Jacob, and tell the children of Israel;   4 Ye have seen what I did unto the Egyptians, and how I bare you on eagles' wings, and brought you unto Myself.   5 Now therefore, if ye will obey MY voice indeed, and keep MY covenant, then ye shall be a peculiar treasure unto ME above all people: for all the earth is mine:   6 And ye shall be unto ME a kingdom of priests, and an holy nation.    These are the words which thou shalt speak unto the children of Israel.  

Mieczysław Weinberg (1919–1996) was one of the most prolific composers of the Soviet era. He enjoyed a period of popularity in Russia during the 1960s (he called them his ‘starry years'), but his music has only been widely heard in the West since a revival of interest in the second decade of the 21st century. Weinberg was born in Warsaw, to a musical Jewish family. His early life, and his musical outlook, were shaped by his experiences during the Second World War. In 1939, the year he graduated from the Warsaw Conservatory, Weinberg led Poland ahead of the German invasion—all of his immediate family perished in the Holocaust. He moved to Minsk but was soon evacuated by the Soviet authorities to Tashkent. From there, he made contact with Dmitri Shostakovich, who was impressed with Weinberg's music, and the two composers became lifelong friends. Shostakovich facilitated Weinberg's move to Moscow in 1943, where he resided until his death.Serenade for Orchestra, Op. 47 No. 41 I. Allegretto 5:462 II. Allegro molto 4:453 III. Adagio 4:244 IV. Allegro giocoso 5:56USSR State Radio OrchestraAlexander Gauk, conductorString Quartet No. 7 in C Major, Op. 595 I. Adagio 8:026 II. Allegretto 5:467 III. Adagio – Allegro moderato 11:58String Quartet No. 8 in C Minor, Op. 668 String Quartet No. 8 (in one movement) 15:31Borodin String Quartet Sinfonietta No. 2, Op. 749 I. Allegro 3:2810 II. Allegretto 4:0411 III. Adagio 4:0412 IV. Andantino 5:09Moscow Chamber OrchestraRudolf Barshai, conductor Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

F. J. Haydn (1732-109)Symphony n. 97 In C, H 1_97 1. Adagio - Vivace 2. Adagio ma non troppo3 .Menuetto: Allegro - Trio - Menuetto4. Finale: Presto assai  Symphony n. 98 In B Flat, H 1_981. Adagio - Allegro 2. Adagio Cantabile3. Menuet: Allegro - Trio - Menuet4. Finale: PrestoAustro-Hungarian Haydn OrchestraAdam Fischer, conductor

Le trascrizioni per pianoforte di Franz LisztL. van Beethoven/F. Liszt - Symphony No. 5, Op. 67 (trascrizione per pianoforte)[00:05] - I. Allegro con brio[07:33] - II. Andante con moto[18:45] - III. Scherzo. Allegro[24:35] - VI. Allegro L. van Beethoven/F. Liszt - Symphony No. 1, Op. 21 (trascrizione per pianoforte)[37:11] - I. Adagio molto - Allegro con brio.[45:42] - II. Andante cantabile con moto.[54:46] - III. Menuetto. Allegro molto e vivace.[58:15] - IV. Adagio - Allegro molto vivace.Cyprien Katsaris, pianforte

Ludwig van Beethoven (1770 - 1827) - Sinfonia n. 1 in do maggiore, op. 211.       Adagio molto - Allegro con brio2.       Andante cantabile con moto (fa maggiore)3.       Minuetto. Allegro molto e vivace4.       Adagio - Allegro molto e vivace-----------------------------------------------Ludwig van Beethoven (1770 - 1827) - Sinfonia n. 4 in si bemolle maggiore, op. 60 Adagio - Allegro vivace Adagio (mi bemolle maggiore) Allegro vivace Allegro ma non troppo New York Philharmonic Leonard Bernstein, direttore

Ludwig van Beethoven (1770 - 1827)Sinfonia n. 4 in si bemolle maggiore, op. 601.       Adagio - Allegro vivace2.       Adagio (mi bemolle maggiore)3.       Allegro vivace4.       Allegro ma non troppoCleveland Orchestra Lorin Maazel, direttore*************Sinfonia n. 6 in fa maggiore, op. 68 "Pastorale"1.       Piacevoli sentimenti che si destano nell'uomo all'arrivo in campagna: Allegro ma non troppo2.       Scena al ruscello: Andante molto mosso (si bemolle maggiore)3.       Allegra riunione di campagnoli: Allegro4.       Tuono e tempesta: Allegro (fa minore)5.       Sentimenti di benevolenza e ringraziamento alla Divinità dopo la tempesta: AllegrettoBerliner PhilharmonikerLorin Maazel, direttore

Wilhelm Friedemann Bach (1710 – 1784)1. Symphony in fa maggiore, F 67 "Dissonance Symphony"01. Vivace 02. Andante03. Allegro04. Menuetto I & II2. Ertönet, ihr seligen Völker, F 88: Symphony in fa maggiore01. Un poco allegro  3. Symphony in re minore, F 65 01. Adagio - Allegro e forte  4. Symphony in re maggiore, F 64 (aus der Kantate Dies ist der Tag, da Jesu Leidenskraft)01. Allegro e maestoso 02. Andante03. Vivace 5. Symphony in re maggiore, F 91 (aus der Kantate Wo geht die Lebensreise hin)01.   Sinfonia  6. Symphony in sol maggiore, F 92 (aus der Kantate O Wunder)01. Allegro assai  7. Suite (Overture) For orchestra in sol minore, BWV 1070 (Wilhelm Friedemann Bach?)01. Larghetto - Un poco allegro 02. Torneo03. Aria: Adagio04. Menuetto alternativo - Trio05. Capriccio

Recording Wolfgang Amadeus Mozart's piano and violin sonatas is a tour de force. Thirty-six works spanning more than a quarter of a century, from childhood to the last years of the composer´s short life, so long of art, of the great master of Salzburg.Tracklist1. Sonata for Piano and Violin in C Major, K. 296, No. 17: I. Allegro Vivace (09:00)2. Sonata for Piano and Violin In C Major, K. 296, No. 17: II. Andante Sostenuto (06:07)3. Sonata for Piano and Violin In C Major, K. 296, No. 17: III. Rondeau, Allegro (04:57)4. Sonata for Piano and Violin in F Major, K. 376, No. 24: I. Allegro (07:35)5. Sonata for Piano and Violin in F Major, K. 376, No. 24: II. Andante (05:29)6. Sonata for Piano and Violin in F Major, K. 376, No. 24: III. Rondeau, Allegretto Grazioso (06:41)7. Sonata for Piano and Violin in F Major, K. 377, No. 25: I. Allegro (06:07)8. Sonata for Piano and Violin in F Major, K. 377, No. 25: II. Andante (08:52)9. Sonata for Piano and Violin in F Major, K. 377, No. 25: III. Tempo di Menuetto (06:24)10. Sonata for Piano and Violin in B-Flat Major, K. 378, No. 26: I. Allegro Moderato (09:23)11. Sonata for Piano and Violin in B-Flat Major, K. 378, No. 26: II. Andantino Sostenuto e Cantabile (06:23)12. Sonata for Piano and Violin in B-Flat Major, K. 378, No. 26: III. Rondeau, Allegro (04:34)13. Sonata for Piano and Violin in G Major, K. 379, No. 27: I. Adagio-Allegro (12:26)14. Sonata for Piano and Violin in G Major, K. 379, No. 27: II. Tema e Variazioni (10:39)15. Sonata for Piano and Violin in E-Flat Major, K. 380, No. 28: I. Allegro (09:58)16. Sonata for Piano and Violin in E-Flat Major, K. 380, No. 28: II. Andante con Moto (09:16)17. Sonata for Piano and Violin in E-Flat Major, K. 380, No. 28: III. Rondeau (04:35)Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Bárbara Leu from Azul Music.         

Le trascrizioni per pianoforte di Franz LisztL. van Beethoven/F. Liszt - Symphony No. 5, Op. 67 (trascrizione per pianoforte)[00:05] - I. Allegro con brio[07:33] - II. Andante con moto[18:45] - III. Scherzo. Allegro[24:35] - VI. Allegro L. van Beethoven/F. Liszt - Symphony No. 1, Op. 21 (trascrizione per pianoforte)[37:11] - I. Adagio molto - Allegro con brio.[45:42] - II. Andante cantabile con moto.[54:46] - III. Menuetto. Allegro molto e vivace.[58:15] - IV. Adagio - Allegro molto vivace.Cyprien Katsaris, pianforte

Ludwig van Beethoven (1770 - 1827) - Sinfonia n. 1 in do maggiore, op. 211.       Adagio molto - Allegro con brio2.       Andante cantabile con moto (fa maggiore)3.       Minuetto. Allegro molto e vivace4.       Adagio - Allegro molto e vivace-----------------------------------------------Ludwig van Beethoven (1770 - 1827) - Sinfonia n. 4 in si bemolle maggiore, op. 60 Adagio - Allegro vivace Adagio (mi bemolle maggiore) Allegro vivace Allegro ma non troppo  New York Philharmonic Leonard Bernstein, direttore

Ludwig van Beethoven (1770 - 1827) Sinfonia n. 4 in si bemolle maggiore, op. 601.       Adagio - Allegro vivace2.       Adagio (mi bemolle maggiore)3.       Allegro vivace4.       Allegro ma non troppoCleveland Orchestra Lorin Maazel, direttore ************* Sinfonia n. 6 in fa maggiore, op. 68 "Pastorale"1.       Piacevoli sentimenti che si destano nell'uomo all'arrivo in campagna: Allegro ma non troppo2.       Scena al ruscello: Andante molto mosso (si bemolle maggiore)3.       Allegra riunione di campagnoli: Allegro4.       Tuono e tempesta: Allegro (fa minore)5.       Sentimenti di benevolenza e ringraziamento alla Divinità dopo la tempesta: AllegrettoBerliner PhilharmonikerLorin Maazel, direttore

Wilhelm Friedemann Bach (1710 – 1784)1. Symphony in fa maggiore, F 67 "Dissonance Symphony"01. Vivace 02. Andante03. Allegro04. Menuetto I & II 2. Ertönet, ihr seligen Völker, F 88: Symphony in fa maggiore01. Un poco allegro  3. Symphony in re minore, F 65 01. Adagio - Allegro e forte  4. Symphony in re maggiore, F 64 (aus der Kantate Dies ist der Tag, da Jesu Leidenskraft)01. Allegro e maestoso 02. Andante03. Vivace 5. Symphony in re maggiore, F 91 (aus der Kantate Wo geht die Lebensreise hin)01.   Sinfonia  6. Symphony in sol maggiore, F 92 (aus der Kantate O Wunder)01. Allegro assai  7. Suite (Overture) For orchestra in sol minore, BWV 1070 (Wilhelm Friedemann Bach?)01. Larghetto - Un poco allegro 02. Torneo03. Aria: Adagio04. Menuetto alternativo - Trio05. Capriccio

Yannick Nézet-Séguin and the Chamber Orchestra of Europe present Beethoven's nine symphonies in what is the very first recorded cycle to be based on the recently concluded New Complete Edition of the composer's works. “I'm interested in how Beethoven's music can surprise us today,” says Maestro Nézet-Séguin. “Our interpretation should make the audience feel as if they were hearing this music for the first time. That is my goal.”Symphony No. 4 in B flat major, op. 6013. 1. Adagio – Allegro vivace [11:36]14. 2. Adagio [9:23]15. 3. Allegro molto e vivace [5:46]16. 4. Allegro ma non troppo [6:48]Symphony No. 5 in C minor, op. 6717. 1. Allegro con brio [7:00]18. 2. Andante con moto [9:22]19. 3. Allegro – attacca [5:23]20. 4. Allegro [10:53]Symphony No. 6 in F major “Pastoral Symphony, or Recollections of Country Life. More an Expression of Feeling Than Painting”, op. 621. 1. Angenehme, heitere Empfindungen, welche bei der Ankunft auf dem Lande im Menschen erwachen. Allegro ma non troppo / Pleasant, Cheerful Feelings Awakened in a Person on Arriving in the Country [11:53]22. 2. Szene am Bach. Andante molto moto / Scene by the Brook [12:23]23. 3. Lustiges Zusammensein der Landleute. Allegro – attacca / Merry Gathering of Country Folk [5:05]24. 4. Donner, Sturm. Allegro – attacca / Thunderstorm [3:42]25. 5. Hirtengesang. Wohltätige, mit Dank an die Gottheit verbundene Gefühle nach dem Sturm. Allegretto / Shepherd's song. Happy and Thankful Feelings to the Deity after the Storm [9:09]Purchase the music (without talk) at:Beethoven: The Symphonies (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katy Solomon from Morahana Arts and Media.

Yannick Nézet-Séguin and the Chamber Orchestra of Europe present Beethoven's nine symphonies in what is the very first recorded cycle to be based on the recently concluded New Complete Edition of the composer's works. “I'm interested in how Beethoven's music can surprise us today,” says Maestro Nézet-Séguin. “Our interpretation should make the audience feel as if they were hearing this music for the first time. That is my goal.”Beethoven: The Symphonies TracklistSymphony No. 1 in C major, op. 211. 1. Adagio molto – Allegro con brio [8:59]2. 2. Andante cantabile con mot [7:17]3. 3. Menuetto. Allegro molto e vivace [3:57]4. 4. Finale. Adagio – Allegro molto e vivace [5:26]Symphony No. 2 in D major, op. 35. 1. Adagio molto – Allegro con brio [11:49]6. 2. Larghetto [9:58]7. 3. Scherzo. Allegro [4:29]8. 4. Allegro molto [6:16]Symphony No. 3 in E flat major “Eroica”, op. 559. 1. Allegro con brio [16:20]10. 2. Marcia funebre. Adagio assai [14:48]11. 3. Scherzo. Allegro vivace [5:27]12. 4. Finale. Allegro molto [11:10]

Over the last 50 years, little has changed for the pharmaceutical management of mental illness. This is troublesome, but not unsolvable, according to The New York Times writer and author, Daniel Bergner. We talked with him about his most recent book, The Mind and the Moon: My Brother's Story, the Science of Our Brains, and the Search for Our Psyches, and some of the key themes he discovered along his personal journey with a mentally challenged family member and other people he came to know well. We discussed the shortcomings of our current mental healthcare systems and processes, the benefits of non-traditional mental health therapies, the ancient myth about the Turkey Prince, and how we might be able to get immediate relief by reframing the conversation about pain management and pain suppression. The book features stories about his brother and a few other people that are told in remarkable detail over a long period of time. The gripping and beautifully-told narrative will open your eyes to some of the challenges that mental illness brings to life. Our conversation with Daniel explored these stories and areas of mental health that are too often overlooked - and we are grateful we get to share that conversation with you. If you are a regular listener to Behavioral Grooves, please consider contributing to our work through Patreon. Writing a podcast review or giving us a quick rating also helps others find our show. Weird, isn't it? But, yeah, it's true. We would appreciate any help you can offer. Most importantly, if you or someone you know needs help, please seek help. The Mental Health Guide is a global resource with phone numbers and websites in dozens of countries: https://www.helpguide.org/find-help.htm. Topics (2:45) Welcome and speed round. (5:23) What the book The Mind and The Moon is about. (7:18) Progress in mental health treatment and with society in the last 50 years. (10:00) The 3 stories that illustrate mental health in the book. (15:50) The effect of psilocybin. (18:15) What a turkey under a table can teach us about managing mental illness. (21:09) What are the next steps in mental health? (22:51) Daniel's personal journey. (26:23) Writing the book in the context of the Trump election and George Floyd. (29:15) This is not an anti-pharmaceutical book. (35:18) Was it deliberate that music was a big part of the book?  (41:42) Grooving Session with Kurt and Tim discussing mental health.   © 2022 Behavioral Grooves   Links Mental Health Guide with global phone numbers and websites: https://www.helpguide.org/find-help.htm  Daniel Bergner's book, “The Mind and The Moon: My Brother's Story, the Science of Our Brains, and the Search for Our Psyches”: https://amzn.to/3aka5pU  Psilocybin:  https://en.wikipedia.org/wiki/Psilocybin Steven Hyman: shorturl.at/lty19  Episode 274, Paul Bloom, “Why Finding Pleasure in Life is a Painful Journey”: https://behavioralgrooves.com/episode/pleasure-is-a-painful-journey/  Episode 255, Daniel Almeida “The 5 Healthy Brain Habits Of A Neuroscientist”: https://behavioralgrooves.com/episode/healthy-brain-habits-neuroscience/  Behavioral Grooves Patreon page: https://www.patreon.com/behavioralgrooves Musical Links Stanley Brothers “The Darkest Hour Is Just Before Dawn”: https://www.youtube.com/watch?v=rmiYKpVNOVg  Marty Robbins “Red River Valley”: https://www.youtube.com/watch?v=ezJkRDQmL2Y  Simon & Garfunkel “The Sound of Silence”: https://www.youtube.com/watch?v=NAEppFUWLfc  Wolfgang Mozart “Symphony No. 36 in C Major, K. 425 ‘Linz' - I. Adagio - Allegro spiritoso”: https://www.youtube.com/watch?v=FMloPIwd_FM  Antonio Vivaldi “Four Seasons - Spring”: https://www.youtube.com/watch?v=6LAPFM3dgag 

Le trascrizioni per pianoforte di Franz LisztL. van Beethoven/F. Liszt - Symphony No. 5, Op. 67 (trascrizione per pianoforte)[00:05] - I. Allegro con brio[07:33] - II. Andante con moto[18:45] - III. Scherzo. Allegro[24:35] - VI. Allegro L. van Beethoven/F. Liszt - Symphony No. 1, Op. 21 (trascrizione per pianoforte)[37:11] - I. Adagio molto - Allegro con brio.[45:42] - II. Andante cantabile con moto.[54:46] - III. Menuetto. Allegro molto e vivace.[58:15] - IV. Adagio - Allegro molto vivace.Cyprien Katsaris, pianforte

Wilhelm Friedemann Bach (1710 – 1784)1. Symphony in fa maggiore, F 67 "Dissonance Symphony"01. Vivace 02. Andante03. Allegro04. Menuetto I & II 2. Ertönet, ihr seligen Völker, F 88: Symphony in fa maggiore01. Un poco allegro  3. Symphony in re minore, F 65 01. Adagio - Allegro e forte  4. Symphony in re maggiore, F 64 (aus der Kantate Dies ist der Tag, da Jesu Leidenskraft)01. Allegro e maestoso 02. Andante03. Vivace 5. Symphony in re maggiore, F 91 (aus der Kantate Wo geht die Lebensreise hin)01.   Sinfonia  6. Symphony in sol maggiore, F 92 (aus der Kantate O Wunder)01. Allegro assai  7. Suite (Overture) For orchestra in sol minore, BWV 1070 (Wilhelm Friedemann Bach?)01. Larghetto - Un poco allegro 02. Torneo03. Aria: Adagio04. Menuetto alternativo - Trio05. Capriccio

L. van Beethoven/F. Liszt - Symphony No. 5, Op. 67 (trascrizione per pianoforte)[00:05] - I. Allegro con brio[07:33] - II. Andante con moto[18:45] - III. Scherzo. Allegro[24:35] - VI. Allegro**************L. van Beethoven/F. Liszt - Symphony No. 1, Op. 21 (trascrizione per pianoforte)[37:11] - I. Adagio molto - Allegro con brio.[45:42] - II. Andante cantabile con moto.[54:46] - III. Menuetto. Allegro molto e vivace.[58:15] - IV. Adagio - Allegro molto vivace.Cyprien Katsaris, pianforte

Donald Macleod explores Mozart's prolific final years. Five years before Mozart's premature death aged 35, the composer felt at the top of his game. He was performing regularly in Vienna and his music was beloved throughout the city. However, the Austro-Turkish War between the Habsburg Monarchy and the Ottoman Empire would soon have a negative impact on Mozart's prospects, along with changing musical taste in the Austrian capital. The nobility had more important things to do than hold concerts and commission new music. Money was in shorter supply. As a composer for hire, Mozart had to change tack and write chamber music for publication and for performance in middle class homes, rather than concertos for the nobility. Music Featured: Horn Concerto No 4 in E flat major, K 495 (I. Allegro maestoso) Piano Concerto No 24 in C minor, K 491 (I. Allegro) Sonata for Piano 4 Hands in F major, K 497 (I. Adagio - Allegro di molto) Symphony No 38 in D major, K 504 “Prague” (I. Adagio – Allegro) Symphony No 39 in E flat major, K 543 (I. Adagio – Allegro) Adagio in B minor, K 540 Divertimento in E flat major, K 563 (II. Adagio) Clarinet Quintet in A major, K 581 (II. Larghetto) Piano Sonata No. 17 in B flat major, K 570 (I. Allegro) Gigue in G major, K 574, "Leipziger Gigue" Le nozze di Figaro (The Marriage of Figaro), K 492, Act 1 (excerpt) Symphony No 41 in C major, K 551, "Jupiter” (II. Andante cantabile) Don Giovanni, K 527, Act II (excerpt) Così fan tutte, K 588 (excerpts) Die Zauberflöte (The Magic Flute), K. 620, Act II: Allegro Ave verum corpus, K 618 6 German Dances, K 600 (No 1 in C Major; No 3 in B-Flat Major; No 6 in D Major) Kyrie in D minor, K 341 Piano Concerto No 27 in B flat major, Op 17, K 595 (I. Allegro) String Quintet No 6 in E flat major, K 614 (I. Allegretto di molto, IV. Allegro) Fantasia in F minor for mechanical organ, K 608 (arr. for wind quintet) La Clemenza di Tito, K 621, Act I: Quintetto con poro) Clarinet Concerto in A major, K 622 (I. Allegro, II. Adagio) Requiem in D minor, K 626 (completed by F.X. Sussmayr)(except) Presented by Donald Macleod Produced by Iain Chambers For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Wolfgang Amadeus Mozart (1756-1791) https://www.bbc.co.uk/programmes/m0012pn0 And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Antonin Dvoràk (1841 - 1904) - Sinfonia n. 9 in mi minore "Dal Nuovo Mondo", op. 95 (1893)1.Adagio - Allegro molto2.Largo3.Scherzo. Molto vivace4.Allegro con fuocoNew York Philharmonic - Leonard Bernstein

Antonín Dvořák wrote his Symphony no. 9 in E minor, Op. 95 From the New World in 1893, while he acted as director of the National Conservatory of Music of America. The piece is popularly known as the New World Symphony, and it is usually referred to as Dvořák's ninth symphony, though in older literature it can be found listed as his fifth symphony (it is very rarely referred to by its Burghauser catalogue number, B. 178). This is by far his most popular work, and one of the most popular romantic pieces ever. Dvořák claimed he was inspired by the peculiarities of the Native American music, and drew attention to its similarities with the African and Scottish music. The sound of the symphony is predominantly pentatonic, so musicologists tend to agree that Dvorak was referring to this characteristic. The theme of the second movement was adapted into a spiritual called Goin' home by Dvořák's pupil William Arms Fisher, who wrote the lyrics in 1922. The popularity of this version has caused the erroneous impression that Goin' Home was the original version. However, it is possible that Dvořák drew inspiration from existing spiritual melodies. The symphony also draws heavily from European tradition: the opening of the third movement bears a strong resemblance to the opening of the third movement of Beethoven's 9th Symphony.

Ludwig van Beethoven (1770 - 1827) - Sinfonia n. 1 in do maggiore, op. 211.Adagio molto - Allegro con brio2.Andante cantabile con moto (fa maggiore)3.Minuetto. Allegro molto e vivace4.Adagio - Allegro molto e vivace-----------------------------------------------Ludwig van Beethoven (1770 - 1827) - Sinfonia n. 4 in si bemolle maggiore, op. 601.Adagio - Allegro vivace2.Adagio (mi bemolle maggiore)3.Allegro vivace4.Allegro ma non troppoNew York Philharmonic Leonard Bernstein, direttore

Ludwig van Beethoven (1770 - 1827)Sinfonia n. 4 in si bemolle maggiore, op. 601.Adagio - Allegro vivace2.Adagio (mi bemolle maggiore)3.Allegro vivace4.Allegro ma non troppoCleveland Orchestra Lorin Maazel, direttore*************Sinfonia n. 6 in fa maggiore, op. 68 "Pastorale"1.Piacevoli sentimenti che si destano nell'uomo all'arrivo in campagna: Allegro ma non troppo2.Scena al ruscello: Andante molto mosso (si bemolle maggiore)3.Allegra riunione di campagnoli: Allegro4.Tuono e tempesta: Allegro (fa minore)5.Sentimenti di benevolenza e ringraziamento alla Divinità dopo la tempesta: AllegrettoBerliner PhilharmonikerLorin Maazel, direttore

Wilhelm Friedemann Bach (1710 – 1784)1. Symphony in fa maggiore, F 67 "Dissonance Symphony"01. Vivace 02. Andante03. Allegro04. Menuetto I & II2. Ertönet, ihr seligen Völker, F 88: Symphony in fa maggiore01. Un poco allegro 3. Symphony in re minore, F 65 01. Adagio - Allegro e forte 4. Symphony in re maggiore, F 64 (aus der Kantate Dies ist der Tag, da Jesu Leidenskraft)01. Allegro e maestoso 02. Andante03. Vivace5. Symphony in re maggiore, F 91 (aus der Kantate Wo geht die Lebensreise hin)01.Sinfonia 6. Symphony in sol maggiore, F 92 (aus der Kantate O Wunder)01. Allegro assai 7. Suite (Overture) For orchestra in sol minore, BWV 1070 (Wilhelm Friedemann Bach?)01. Larghetto - Un poco allegro 02. Torneo03. Aria: Adagio04. Menuetto alternativo - Trio05. Capriccio

a cura di Massimiliano Samsa.Antonin Dvoràk (1841 - 1904) - Sinfonia n. 9 in mi minore "Dal Nuovo Mondo", op. 951.Adagio - Allegro molto2.Largo3.Scherzo. Molto vivace4.Allegro con fuocoBoston Symphony Orchestra Direttore - Carlo Maria Giulini

15 aprile 2021 - A.Corelli, Concerto grosso op.6 n.1 (movv Adagio-Allegro)

a cura di Massimiliano SamsaAntonín Dvořák (1841 - 1902) - Sinfonia n. 9 in mi minore "Dal Nuovo Mondo"1.Adagio - Allegro molto2.Largo3.Scherzo. Molto vivace4.Allegro con fuocoPrima esecuzione: New York, Carnegie Hall, 16 Dicembre 1893*********Bedřich Smetana (1824 - 1884) - La MoldavaAllegro comodo non agitato (Le sorgenti della Moldava, Caccia nel bosco). Lo stesso tempo ma moderato (Nozze di contadini). Lo stesso tema (Chiaro di luna e Ridda delle ninfe). Tempo I (Le rapide di san Giovanni, La Moldava nel suo corso largo, Motivo del "Vyšehrad") (mi minore)Prima esecuzione: Praga, Sala Žofín, 4 aprile 1875Slovak Philharmonik OrchestraKurt Redel, direttoreL'ultima e più famosa sinfonia di Dvoràk fu composta fra il 19 dicembre 1892 e il 24 maggio 1893, a New York, e quivi presentata il 16 dicembre 1893 sotto la direzione di Anton Seidl. Il compositore si trovava negli Stati Uniti dal settembre del 1892, avendo accettato l'incarico di direttore del National Conservatory di New York che gli era stato offerto nel corso del precedente soggiorno americano (1890). Fin dal suo arrivo nel Nuovo Mondo, Dvoràk si interessò molto ai canti negro-americani e alle tradizioni popolari dei pellerossa: ascoltò con attenzione musiche e cerimonie, trascrisse melodie, fu attratto dalle potenzialità delle scale pentatoniche. La Sinfonia in mi minore, nata in quel periodo, fu largamente ispirata da quelle musiche come lo stesso Dvoràk dichiarò pubblicamente numerose volte. C'è però da dire che le assunzioni nella sinfonia di motivi presi dal canto popolare americano non sono mai dirette, ma fortemente mediate e filtrate attraverso la sensibilità europea. Non si trova cioè alcuna citazione precisa di melodie attinte dal patrimonio popolare indiano. La stessa celebre melodia del corno inglese che si ascolta nel Largo e che viene considerata una ninna-nanna o un canto funebre pellerossa, è originale di Dvoràk e, per certi aspetti, potrebbe anche avere origini boeme. La forma della sinfonia è ciclica, ricorrendo il primo tema iniziale dall'Allegro molto più volte nel corso dell'intera sinfonia. All'elegiaco Largo, in semplice forma strofica, fa contrasto il vivace Scherzo, più ampio del normale perché dotato di un doppio Trio centrale. Di esaltante imponenza è l'Allegro con fuoco finale, che contiene il tema più memorabile della sinfonia, lungamente sviluppato insieme agli spunti dei temi principali apparsi durante l'intera composizione.Testo tratto da: https://www.flaminioonline.it/Guide/Dvorak/Dvorak-Sinfonia9.html**********Il 20 novembre 1874 Smetana cominciò a lavorare alla Moldava - il più popolare dei suoi Poemi Sinfonici, dedicato al fiume che attraversa tutta la Boemia e si getta nell'Elba - e la completò in appena tre settimane. Erano passati soltanto pochi giorni da quando all'improvviso aveva perso l'udito quasi completamente, a causa di un sibilo incessante, che lo tormentò per il resto della sua vita e lo condusse infine alla follia: tuttavia continuò a comporre finché gli fu possibile, con una forza morale che lo avvicina a Beethoven.Testo tratto da: https://www.flaminioonline.it/Guide/Smetana/Smetana-Moldava1122.html

Prayer for deliverance from the treacherous. The Lord the Keeper of Israel. Prayer for the peace of Jerusalem. Prayer for The Lord's Help. Praise for rescue from enemies. The Lord surrounds His people.Thanksgiving for return from captivity. Prosperity comes from The Lord. Blessedness of the fear of The Lord. Prayer for the overthrow of Zion's enemies. Hope in The Lord's forgiving Love. Music by Scott Holmes, intro and outro, Corporate Uplifting Theme by Adagio-Allegro(winter is leaving)

A cura di Massimiliano SamsaLudwig van Beethoven (1770 - 1827) - Sinfonia n. 1 in do maggiore, op. 211.Adagio molto - Allegro con brio2.Andante cantabile con moto (fa maggiore)3.Minuetto. Allegro molto e vivace4.Adagio - Allegro molto e vivacePrima esecuzione: Vienna, Teatro di Porta Carinzia, 2 Aprile 1800Dedica: Barone von SwietenIl brano che segue fa parte di uno studio dedicato da Hector Berlioz alle Sinfonie di Beethoven.1862 - Quest'opera per la forma, per lo stile melodico, per la sobrietà armonica e la strumentazione, si distingue completamente dalle altre composizioni di Beethoven che l'hanno seguita. Scrivendola, l'autore è rimasto evidentemente sotto l'impero delle idee di Mozart, ch'egli ha qualche volta ingrandito, e dovunque ingegnosamente imitato. Tuttavia nel primo tempo si vedono spuntare ogni tanto alcuni ritmi di cui l'autore del Don Giovanni, è vero, ha fatto uso, ma molto di rado e in un modo molto meno rilevato. Il primo Allegro ha per tema una frase di sei battute che, senza avere in sé niente di molto caratteristico, diviene in seguito interessante per l'arte con cui è trattata. Gli succede una melodia episodica, d'uno stile un po' comune; e a mezzo di una semicadenza ripetuta tre o quattro volte si arriva a un disegno di fiati in imitazione alla quarta, che si è tanto più stupiti d'incontrare in quanto era già stato impiegato spesso in parecchie ouvertures d'opere francesi.L'Andante contiene un accompagnamento di timpani piano che oggi sembra qualche cosa di molto ordinario, ma in cui bisogna tuttavia riconoscere il preludio di effetti caratteristici che Beethoven ha prodotto più tardi coll'aiuto di questo strumento, in genere adoperato poco e male dai suoi predecessori. Questo pezzo è pieno d'incanto, il suo tema è grazioso e si presta bene agli sviluppi fugati, mediante i quali l'autore ha saputo trarne un partito così ingegnoso e arguto.Lo Scherzo è il primogenito della famiglia d'incantevoli burle di cui Beethoven ha inventato la forma, determinato il movimento, e che in quasi tutte le sue opere strumentali ha sostituito al minuetto di Mozart e Haydn, nel quale il tempo è meno rapido del doppio e il carattere completamente diverso. Questo è d'una freschezza, d'una agilità e d'una grazia squisite.Testo tratto da: https://www.flaminioonline.it/Guide/Beethoven/Beethoven-Sinfonia1.html-----------------------------------------------Ludwig van Beethoven (1770 - 1827) - Sinfonia n. 4 in si bemolle maggiore, op. 601.Adagio - Allegro vivace2.Adagio (mi bemolle maggiore)3.Allegro vivace4.Allegro ma non troppoPrima esecuzione: Vienna, Großer Redoutensaal del Burgtheater, 5 Marzo 1807Dedica: Conte Franz Von OppersdorffSulla Quarta Sinfonia: Beethoven e Dante di Héctor BerliozIl carattere di questa partitura è generalmente vivo, sveglio, gaio, oppure d'una dolcezza celeste. Se si eccettua il meditativo Adagio che gli serve da introduzione, il primo pezzo è consacrato quasi esclusivamente alla gioia. Il motivo in note staccate con cui ha inizio l'Allegro è un semplice canovaccio su cui l'autore spande in seguito altre melodie più effettivamente tali, che rendono così accessoria l'idea apparentemente principale dell'inizio.Quest'artificio, benché fecondo in risultati curiosi e interessanti, era già stato usato da Mozart con uguale fortuna. Ma nella seconda parte dello stesso allegro, si trova un'idea veramente nuova, le cui prime battute incatenano l'attenzione, e che dopo aver trascinato lo spirito dell'ascoltatore in misteriosi sviluppi lo colpisce di stupore per la sua conclusione inattesa. [...]Quanto all'Adagio, sfugge all'analisi... È così puro di forme, l'espressione della sua melodia è così angelica e d'una tenerezza così irresistibile, che l'arte prodigiosa della sua messa in opera scompare completamente. Fin dalle prime battute si è colti da un'emozione che alla fine per la sua intensità diviene opprimente; solo in uno dei giganti della poesia possiamo trovare un punto di confronto con questa pagina sublime del gigante della musica. Niente infatti somiglia di più all'impressione prodotta da questo adagio di quella che si prova leggendo il toccante episodio di Francesca da Rimini nella Divina Commedia, del quale Virgilio non può sentire il racconto senza singhiozzare, e che all'ultimo verso fa cadere Dante "come corpo morto cade". Questo pezzo sembra essere stato sospirato dall'arcangelo Michele il giorno in cui, colto da un accesso di malinconia, contemplava i mondi ritto sulla soglia dell'Empireo.Lo Scherzo consiste quasi interamente in frasi ritmate in tempo binario, costrette a entrare nelle combinazioni della battuta ternaria. Questo mezzo, molto usato da Beethoven, dà molto nerbo allo stile; le desinenze melodiche divengono più pungenti e inattese; [...] La melodia del trio, affidata ai fiati, è d'una freschezza deliziosa; il suo tempo è più lento di quello del resto dello scherzo, e la sua semplicità risalta ancor più elegante dal contrasto colle piccole frasi che i violini gettano sull'armonia, come dei vezzi incantevoli.Il Finale, gaio e brioso, rientra nelle forme ritmiche ordinarie; esso consiste in un tintinnio di note scintillanti, in un cicaleccio continuo, interrotto tuttavia da qualche accordo rauco e selvaggio. [...]Hector Berlioz, L'Europa musicale da Gluck a Wagner, Torino, Einaudi 1950Il testo è tratto da: https://www.flaminioonline.it/Guide/Beethoven/Beethoven-Sinfonia4.html

Beethovens orkestwerken IIIc: Opus 60, 72 en 125   1. Ouverture Fidelio. Residentie Orkest olv. Willem van Otterloo. 2. Adagio-Allegro vivace (1e deel) uit: Symfonie no. 4, in Bes opus 60. De Nieuwe Philharmonie Utrecht olv. Johannes Leertouwer. 3. Symfonie nr. 9 in d op. 125 deel 1 t/m 3 Orkest van de 18e Eeuw, […]

A cura di Massimiliano SamsaPuntata dedicata a Franz Schubert. Ascolto di due sinfonie: la n. 5 e la n. 1.Da tempo gli studiosi della musica romantica dividono la produzione sinfonica di Schubert in tre gruppi che corrispondono in linea generale alle tre fasi dell'evoluzione e dello sviluppo artistico del compositore. Al primo gruppo appartengono le prime sei sinfonie complete scritte fra il 1812 e il 1817: sono lavori giovanili che risentono soprattutto delle forme sinfoniche elaborate da Haydn e da Mozart, anche se vi si avvertono certe caratteristiche inconfondibili dell'arte schubertiana, come il senso di affettuosa dolcezza della melodia e l'intimità e la purezza dell'espressione lirica.La Quinta sinfonia in si bemolle maggiore, composta fra il settembre e l'inizio d'ottobre del 1816, reca impresso il sigillo di un omaggio a un grande della musica classica viennese: Mozart. «O Mozart, immortale Mozart» - Si legge scritto nel diario di Schubert alla data 13 giugno 1816 - «quante, o quanto infinite, benevole impronte di una vita migliore, più luminosa, hai stampato nella nostra anima!».Schubert concepiva e scriveva le sue composizioni sinfoniche con spontaneità e immediatezza di sentimento e secondo una freschezza inventiva, ricca di idilliaca innocenza, increspata da quel senso elegiaco della vita, tipico della personalità di questo musicista. Tali caratteristiche si ritrovano nella Sinfonia n. 1 in re maggiore, finita di scrivere il 28 ottobre del 1813 e dedicata a Franz Innocenz Lang, rettore del Reale Imperiale Convitto Civico di Vienna nel quale l'artista sedicenne si distinse nello studio del canto e del violino. Non si sa bene dove e come venne eseguita questa Sinfonia mentre l'autore era in vita; è certo però che la prima esecuzione completa dì questa partitura ebbe luogo il 5 febbraio 1881 al Palazzo di cristallo di Londra, sotto la direzione di orchestra di August Manns. Probabilmente il fatto che essa sia stata composta nello spirito haydniano e mozartiano ha influito negativamente sulla sua diffusione e ancora oggi viene inserita raramente nella programmazione dell'attività concertistica.Sitografia:https://www.flaminioonline.it/Guide/Schubert/Schubert-Sinfonia5.htmlhttps://www.flaminioonline.it/Guide/Schubert/Schubert-Sinfonia1.htmlProgrammaF. Schubert - Sinfonia n. 5 in si bemolle maggiore D 485I. Adagio – Allegro vivace ∙II. AndanteIII. Menuetto. Allegretto – Trio – MenuettoIV. Allegro vivaceF. Schubert - Sinfonia n. 1 in re maggiore D 82I. Adagio - Allegro vivaceII. AndanteIII. Menuetto. Allegro - TrioIV. Allegro vivace

BEETHOVEN: Sonata para violín y piano nº 9 en La mayor, Op. 47 “Kreutzer” (Primer movimiento: Adagio sostenuto – Presto) (10.02). J. Heifetz (vl.), B. Smith (p.). Sinfonía nº 3 en Mi bemol mayor, Op. 55 “Eroica” (Segundo movimiento: Marcia funebre: Adagio-Allegro assai) (17.10). Orq. Fil. de Berlín. Dir.: H. von Karajan. Bitten (6 Lieder, Op. 48) (1.36). H. Prey (bar.), W. Sawallish (p.). 11 Bagatelas, Op. 119 (selec.) (nº 2 Andante con moto, Do mayor, nº 3 A L´Allemande, Re mayor, nº 9 Vivace moderato, La menor). (3.19). A. Schiff (fortep.Broadwood de Beethoven). Escuchar audio

A cura di Massimiliano SamsaProgrammaWilhelm Friedemann Bach (1710 – 1784)1. Symphony in fa maggiore, F 67 "Dissonance Symphony"01. Vivace 02. Andante03. Allegro04. Menuetto I & II2. Ertönet, ihr seligen Völker, F 88: Symphony in fa maggiore01. Un poco allegro 3. Symphony in re minore, F 65 01. Adagio - Allegro e forte 4. Symphony in re maggiore, F 64 (aus der Kantate Dies ist der Tag, da Jesu Leidenskraft)01. Allegro e maestoso 02. Andante03. Vivace5. Symphony in re maggiore, F 91 (aus der Kantate Wo geht die Lebensreise hin)01.Sinfonia 6. Symphony in sol maggiore, F 92 (aus der Kantate O Wunder)01. Allegro assai 7. Suite (Overture) For orchestra in sol minore, BWV 1070 (Wilhelm Friedemann Bach?)01. Larghetto - Un poco allegro 02. Torneo03. Aria: Adagio04. Menuetto alternativo - Trio05. Capriccio

This week, Donald Macleod reaches the final chapters of his year-long biography of Beethoven. The composer’s remaining years, 1825-1827, were marred by failing health and a traumatic family crisis but also saw Beethoven pushing resolutely forward in his art. He continued to surprise and astonish, producing a series of extraordinary late string quartets. Composer of the Week is returning to the story of Beethoven’s life and music throughout 2020. Part of Radio 3’s Beethoven Unleashed season marking the 250th anniversary of Beethoven’s birth. Music Featured: Piano Sonata No. 29 Op.106 ‘Hammerklavier’ (I. Allegro) String Quartet in E flat, Op.127 (III. Scherzando vivace) String Quartet in A minor, Op. 132 (III. Molto Adagio) Kühl, nicht lau, WoO.191 Ars Longa, vita brevis, WoO.192 Piano Concerto No. 4 in G (II. Andante con moto) Piano Trio in D, Op. 70 No. 1 ‘Ghost’ (I. Allegro vivace e con brio) String Quartet in A minor, Op. 132 (II. Allegro ma non tanto) Piano Sonata No. 23 in F minor, Op. 57 ‘Appassionata’ (I. Allegro Assai) Grosse Fugue, Op. 133 String Quartet in B flat, Op. 130 (IV. Alla danza tedesca ) String Quartet in A minor, Op. 132 (V. Allegro appassionato) String Quartet in B flat, Op. 130 (II. Presto & III. Andante con moto ma non troppo) Septet, Op. 20 (I. Adagio – Allegro con brio) String Quartet in C sharp minor, Op. 131 (I. Adagio, ma non troppo e molto expressive) String Quartet in C sharp minor, Op. 131 (mvts. V-VII) String Quartet in E flat Op. 127 (IV. Finale, Allegro) Piano Trio in D, Op. 70 No. 1 ‘Ghost’ (III. Presto) String Quartet in B flat, Op. 130 (V. Cavatina & VI. Finale) Mass in C, Op. 86, I. Kyrie String Quartet in F, Op. 135 (I. Allegretto & II. Vivace) String Quartet in A minor, Op. 132 (I. Assai sostenunto – Allegro) Andante maestoso in C major, WoO.62 Piano Concerto No. 2 in B flat (II. Adagio) Piano Sonata No. 14 in C sharp minor, Op. 27 No. 2 ‘Moonlight’ (I. Andante sostenuto) Beethoven. Symphony No. 5 in C minor (IV. Allegro) Presented by Donald Mcleod Produced by Chris Taylor For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Beethoven Unleashed: Pain and Persistence https://www.bbc.co.uk/programmes/m000pw2z And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Donald Macleod meets professional musicians to get the performer’s eye view of Beethoven. During Beethoven’s life, great technical advances were being made to musical instruments such as the keyboard and the horn. It was also a period when virtuoso musicians of all kinds began to tour Europe and Beethoven was able to meet some of the greatest exponents of different instruments and learn from them. He was inspired to push the limits of his performers as never before, and his works continue to fascinate and challenge musicians today. In this episode, Donald Macleod meets with different professional musicians to get a performer's eye view of Beethoven’s music and the challenges it presents. Guests: Chi-chi Nwanoku (double bass), Rachel Nicholls (soprano), Adrian Bending (timpani), Ronald Brautigam (fortepiano), Sarah Willis (French horn). Composer of the Week is returning to the story of Beethoven’s life and music throughout 2020. Part of Radio 3’s Beethoven Unleashed season marking the 250th anniversary of Beethoven’s birth. Music Featured: Symphony No 6 in F, Op 68 “Pastoral” (Donner. Sturm) Symphony No 7 in A, Op 92 (Allegro con brio) Septet in E flat, Op 20 (Scherzo) Symphony No 9 in D minor, Op 125 “Choral” (Presto) Fidelio, Act 1 No 1-3 Fidelio, Act 2 No 12 Fidelio, Act 2 No 14-15 Missa Solemnis, Op 123 (Agnus Dei) Violin Concerto in D, Op 61 (excerpt) Symphony No 4 in B flat, Op 60 (Adagio – Allegro vivace) Symphony No 3 in E flat, Op 55 “Eroica” (Marcia funebre) Symphony No 5 in C minor, Op 67 (Allegro & Allegro - Presto) Piano Sonata No 13 in E flat, Op 27 No 1 (Andante) Concerto No 3 in C minor, Op 37 (Largo) Piano Trio No 5 in D, Op 70 No 1 “Ghost” (Largo assai ed espressivo) Fantasia in C minor, Op 80 Horn Sonata, Op 17 Symphony No 3 in E flat, Op 55 “Eroica” (Scherzo) Sextet in E flat, Op 81b (Rondo) Symphony No 9 in D minor, Op 125 “Choral” (Adagio molto e cantabile) Presented by Donald Macleod Produced by Luke Whitlock for BBC Wales For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Beethoven Unleashed: How to Play Beethoven https://www.bbc.co.uk/programmes/m000m06v And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

做一档有灵魂的读书节目。每天更新一期。 主播：潮羽&云公子，365天每天更新一期。微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。 文字版已在微信公众号【365读书】发布 。QQ：587586744 背景音乐：1. 麗美 - flash back;2. Arthur Rubinstein - Sonata No. 26 in E-Flat, Op. 81a ＂Les Adieux＂： I. Adagio – Allegro; Arthur Rubinstein - Sonata No. 26 in E-Flat, Op. 81a ＂Les Adieux＂： II. Andante espressivo;4. S.E.N.S. - 静かな日々;5. 大島ミチル - 梦と希望、欲望と絶望.

做一档有灵魂的读书节目。每天更新一期。 主播：潮羽&云公子，365天每天更新一期。微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。 文字版已在微信公众号【365读书】发布 。QQ：587586744 背景音乐：1. 麗美 - flash back;2. Arthur Rubinstein - Sonata No. 26 in E-Flat, Op. 81a ＂Les Adieux＂： I. Adagio – Allegro; Arthur Rubinstein - Sonata No. 26 in E-Flat, Op. 81a ＂Les Adieux＂： II. Andante espressivo;4. S.E.N.S. - 静かな日々;5. 大島ミチル - 梦と希望、欲望と絶望.

做一档有灵魂的读书节目。每天更新一期。 主播：潮羽&云公子，365天每天更新一期。微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。 文字版已在微信公众号【365读书】发布 。QQ：587586744 背景音乐：1. 麗美 - flash back;2. Arthur Rubinstein - Sonata No. 26 in E-Flat, Op. 81a ＂Les Adieux＂： I. Adagio – Allegro; Arthur Rubinstein - Sonata No. 26 in E-Flat, Op. 81a ＂Les Adieux＂： II. Andante espressivo;4. S.E.N.S. - 静かな日々;5. 大島ミチル - 梦と希望、欲望と絶望.

En el episodio XXVI de A lo Bestia finalizamos nuestro análisis sobre la influencia que ha tenido en el metal la música del período de la práctica común ("música clásica"), basados en canciones de artistas de metal adicionales al episodio anterior, que adoptan obras, segmentos o motivos "clásicos" en sus producciones. De nuevo, analizamos la estructura de cada canción y presentamos al compositor de la obra "clásica" original.Episodio grabado el 16 de mayo de 2020 en línea, desde Bogotá - Colombia y Gante - Bélgica.Escucha la lista de reproducción (playlist) de este episodio en:- Youtube: https://www.youtube.com/playlist?list=PLzEUmf3C1pXEaXmd75zlzslu21i-VlBRs- Spotify: https://open.spotify.com/playlist/5MEX3QGkijgs1hWovg867a?si=NIfynAxSQKOOmyzG3Hu7aQ- Deezer: https://www.deezer.com/playlist/7698917482#AloBestiaPodcastArtistas y canciones recomendadas en este episodio:Dan Mumm - Hungarian Rhapsody No.2 (A Glimpse Beyond, 2012)Franz Liszt (Liszt Ferenc)- Hungarian Rhapsody No. 2 in C-Sharp Minor, S.244/2 (1851)Mekong Delta - Night on a Bare Mountain (Medley) [Dances of Death (and Other Walking Shadows), 1990]Modest Músorgski - Saint John's Eve on Bald Mountain (1867)Galneryus - Angel of Salvation (Angel of Salvation, 2012)Pyotr Ilyich Tchaikovsky - Violin Concerto in D Major, Op. 35, TH 59: I. Allegro moderato - Moderato assai (1878)Dimmu Borgir - Guds Fortapelse - Apenbaring Av Dommedag (Stormblåst, 1996)Antonín Leopold Dvořák - Symphony No. 9 in E Minor, Op. 95, B. 178 "From the New World": I. Adagio - Allegro molto (1893)Diamond Head - Am I Evil (Lightning To The Nations, 1980)Gustav Theodore Holst - The Planets Op.32: I Mars, the Bringer of War (1916)Necrophagist - Only Ash Remains (Epitaph, 2004)Sergei Sergeyevich Prokofiev - Romeo and Juliet, Op. 64, Act I: No. 13, Dance of the Knights (1938)Playlist Spotify "The Dark Side of Classical Music" de Sebastián Posso:https://open.spotify.com/playlist/24fjEAh4lUGgs4qmAw33Jw?si=uz2gkGPuS2qtXeh5ljMXXQ

Donald Macleod continues his journey through the life of Ludwig van Beethoven. In this week’s episode, Donald Macleod traces Beethoven’s story through the years 1799-1801. As he reaches his thirtieth birthday, we see Beethoven finally emerging as a mature composer and beginning to produce the enduring works that will mark him out as one of the great artists of his age. But there are clouds on the horizon too, and we see the first intimations of a serious problem with his hearing. Composer of the Week will be returning to the story of Beethoven’s life and music throughout 2020. Part of Radio 3’s Beethoven Unleashed season marking the 250th anniversary of Beethoven’s birth. Music featured: Piano Concerto No 3, III. Rondo Piano Sonata No 10 in G major, Op 14, No 2 Music: Symphony No 1, IV. Adagio – Allegro molto e vivace Septet Op. 20 (movts 4-6) Piano Sonata No 13 in Eb major, op 27 No 1, I. Andante String Quartet Op 18, No 3, I. Allegro, II. Andante con moto) Piano Sonata No 11 in Bb, Op 22 III. Minuetto & IV. Rondo Violin Sonata Op 23 Piano Sonata No.8 in C minor Op. 13 ‘Pathetique’ String Quintet in C, Op 29, II Adagio molto espressivo & IV. Presto Symphony No.5, IV. Allegro Symphony No 3 ‘Eroica’, III. Scherzo Horn Sonata Op 17 Cello Sonata Op 5 No 2, I. Adagio sostenuto e espressivo & II. Allegro molto più tosto presto Piano Sonata No 15 in D, Op 28 ‘Pastoral’, I. Allegro Piano Sonata No 14 in C# minor, Op 27 No 2 ‘Moonlight’ String Quartet Op 18 No 1, II. Adagio affettuoso ed appassionato Prometheus (extracts from the complete Ballet Music) Presented by Donald Macleod Produced by Chris Taylor for BBC Wales For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Beethoven Unleashed: Fate https://www.bbc.co.uk/programmes/m000hflg And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Episode 05 Show Notes 0:00 - Intro Thanks for listening!  We’ve enjoyed your feedback and would welcome more! 1:18 - Introducing a New Format Our typical format is to:  Define a musical term Make listening recommendations based on that term Answer a question from a listener Every 5th episode, we’ll take a slightly deeper dive into just one piece of music This could be an album, a musical, the score of a film, etc. Today’s piece is a symphony Our goal is to give you a few things to listen for in each movement of this symphony focusing on principles from our first four episodes: Melody Harmony Rhythm & Meter Timbre 2:37 - Introducing Dvorak’s 9th Symphony: From the New World Written by Antonin Dvorak (1841-1904), a Bohemian (Czech) orchestral composer Premiered by the New York Philharmonic in 1893 Dvorak traveled to America to be the director of the National Conservatory of Music in New York Wrote some of his most famous works while in the states (American String Quartet, his cello concerto, and this symphony) Dvorak opened the conservatory to African American students Dvorak believed that composers interested in capturing the American sound should study the music of Native Americans and African Americans Not very many people agreed with him at the time Dvorak wrote original themes inspired by Native American and African American traditions, not exact replications of themes from these cultures With the exception of Swing Low, Sweet Chariot Garrett compares Dvorak’s goal to the Foo Fighters’ concept behind their album/documentary “Sonic Highways” 7:31 - What is a symphony? A multi-movement work for the symphony orchestra Movements are sort of like small pieces of music that make up a bigger piece of music Garrett asks if movements are like chewing bites of a cake instead of shoving an entire cake into your mouth Amanda responds that it’s more like four cupcakes decorated slightly differently but all part of the same batch or set Garrett compares movements to chapters in a book Amanda compares them to books in a series of books because movements are usually pretty complete unto themselves Symphonies typically have 3 movements (early classical) or 4 movements (standard in the Romantic period), and they have a typical order: Fast Slow Dance Fast A note about when to applaud: If the work has multiple movements, try to follow along with the order of them and wait until the end of the last movement to clap If nothing else, wait until the conductor puts his arms all the way down and keeps them down… that’s usually the big ending! People used to clap whenever they wanted, but now we’re snobs about it 12:08 - Movement I. “Adagio - Allegro molto" Melody: Three important themes: A bold, fanfare-like theme (with a statement and a response) that is often played in the brass A minor melody with a simple accompaniment that is first played in the flute We’re not sure why, but Dvorak pointed to this theme as being influenced by indigenous music traditions. He may have thought the minor mode made it sound indigenous A theme that seems to be a pretty direct quotation and development of “Swing Low, Sweet Chariot” (an important African American spiritual) Rhythm: the 1st and 3rd theme have very similar rhythms… almost identical! Sidenote: Dvorak will introduce great themes during each movement of the piece, but he’ll also bring back previous movements’ themes (especially the opening theme and the Swing Low theme) Perhaps a drinking game could be played???  (Please drink responsibly.) One word description of Movement I: Amanda: Exploration Garrett: Outset 17:49 - Movement II. “Largo” The most famous movement from this piece Melody: Several years after it was written and premiered, a student of Dvorak, William Arms Fisher, added lyrics to the theme from this movement (“Goin’ Home”) Timbre: The Goin’ Home theme was originally written for clarinet! Dvorak changed it to English Horn because he thought it better matched the vocal timbre of Harry T. Burleigh, the student who exposed Dvorak to many African spirituals Amanda also points out that the timpani notes in this movement are another great timbre Harmony: A passage of big, open chords played by the brass section multiple times throughout this movement Michael Beckerman called this the “Once Upon a Time” figure One word description: Garrett: Nostalgia Dvorak was very homesick while in America Amanda: Yearning 24:32 - Movement III. "Scherzo. Molto Vivace" Rhythm & Meter: The meter is very obvious in this movement, and this is the only movement in triple meter (3 beats per measure) Melody: 3 more great melodies introduced in this movement Sidenote: The opening of this scherzo matches the opening of Beethoven’s 9th symphony’s scherzo!  They sound musically very similar. Dvorak did likely did this on purpose as a nod to Beethoven Even Sider Note: Amanda got the movement number wrong in the episode (womp, womp).  Beethoven mixes things up, so his scherzo is Movement II, not Movement III.  Idea still applies though! One word description: Garrett: Chase Amanda: Tension 28:26 - Movement IV. "Allegro con fuoco” Melody: One last big, bold theme Dominates the movement and later signals the end of the piece Melody: Garrett feels that this movement is a battle of all the themes!  See his list of theme battles below! Harmony/Timbre: The last chord of the piece Unique because the entire orchestra hits a chord together, but suddenly everyone cuts out and only the very soft woodwind section sustains Sidenote: The opening of this movement is… Jaws! John Williams borrowed this figure for his shark movie soundtrack On a case by case basis, as long as you properly attribute the material you’ve borrowed, most people in classical music don’t care about this type of borrowing... Just don’t try to pass anything off as your own work if it’s isn’t actually your own work! If Dvorak were alive at the time of Jaws, maybe he’d have wanted a writer’s credit? “You’re only as good as who you steal from.” - A tongue in cheek quote from a professor Garrett and Amanda both know One word descriptions: Garrett: Argument Amanda: Territorial Bonus: Garrett makes a claim for “Three Blind Mice” as another quotation Amanda believes this is purely coincidence 35:40 - How to Enjoy a Symphony (35:53) If you sit down at a concert and see a symphony on the program that comes from 1815 on, get ready for a long ride During the romantic period, symphonies were expanded and got longer and longer Dvorak's 9th symphony is around 42 minutes long! Amanda says that if people will go to a movie theater to watch three hours of Avengers, then they definitely have the capacity to enjoy 40 minutes of great music Garrett says it’s one crime show episode Amanda says it’s three Spongebobs (37:42) Expect thematic development! When you hear a melody, try to hold onto it because it will likely come back again Expect the composer to transform and expand on the themes you hear (38:29) Don’t expect to stay completely engaged and focused for 40 minutes straight Amanda points out that not even the members of the orchestra are fully, completely focused for the entire length of the piece Tuba player is a great example because that person only plays the 2nd movement (and plays less than 20 notes) Dvorak wrote highs and lows, so it’s okay to let your attention ebb and flow a little bit Garrett compares some parts to background info/setting in a novel Amanda compares it to description in a novel It’s all important, but it doesn’t all require the same level of engagement If someone falls asleep, only wake them up if they start snoring Even trained pros want to be whisked away by the music This is musical storytelling!  Let it take you where it wants to go (41:20) Expect repetition Composers have to walk a fine line between variety and repetition Repetition can ground you, but too much can bore you Variety is the spice of life, but too much spice ruins dinner There are two types of repetition: exact and non exact Exact repetition:  “This piece of music worked once… it’ll work again!” Tension and release (repetition can add to either) The composer is saying, “I want you to remember this.” Non-exact repetition: A timbral change: maybe the same melodies and harmonies but played by different instruments or different groups of instrument Accompaniment changes: Rhythms used might change, additional parts might come in If you hear the same melody, something might have changed elsewhere in the orchestra Ask yourself if it's different and try to figure out what changed (44:10) Nothing beats seeing a symphony live Amanda: the best sound system in the world can’t compete with the weakest concert hall Amanda: I can’t appreciate the difference between 20 vs 50 vs 100 in an orchestra on youtube If the music isn’t thrilling you too much at home, it may be that you need to go see it live Think of it as not just the music but the entire experience Experience it in the right context A comparison to movies You wouldn’t judge a movie based off the one time you saw it using a portable DVD player and broken earbuds during a car ride If you’ve heard someone say, “Oh, that’s a movie you have to see in theaters,” that’s how Amanda feels about symphonies Garrett points out that Twister goes from epic to cheesy real fast when you watch it at home instead of in theaters There’s music that’s meant to be in the studio and is hard to replicate live, but the symphony is the opposite. Witness the team effort! If it’s an educational group, remember that they’re still acquiring the skills they need in order to become the pros If you’re under 80, people will be so excited to see you at a symphony concert! (47:33) You can enjoy this! The music still has value It’s up to the musicians and people involved to show you the value Once you see it, there’s nothing stopping you from enjoying this music Don’t worry that other people are understanding the music more than you are You know a lot about the music you love, and you can appreciate cool experiences!  Seek them out! Garrett advises you to ask us about concert etiquette and to seek out casual concerts More and more pro orchestras are putting on less formal concerts 49:04 - Sign Off A reminder that we’ll keep this format reserved for every 5th episode Feel free to recommend a piece you’d like us to dive into Leave us a review if you’d like! Shoot any questions towards our social media or gmail Share the podcast with a friend!  We bet you know someone who loves music and would like to know a little more about it. Help make Garrett famous.   Spotify Playlist Special thanks to OpenMusicRevolution.com for our intro and outro music and to the guys at Better Podcasting for being such great guides to us.  Special thanks to you, our listeners, too! Visit our Website! Follow us on social media! Instagram: @uptoyourearspodcast  Twitter @uptoyourears  Email us! uptoyourearspodcast@gmail.com Additional Resources: James, Jonathan.  “Dvorak Symphony No 9 - From The New World: Inside the Music”. YouTube video, 3:35. Posted October 2016. https://youtu.be/rjeskgwj78s. Roitstein, Andrew, and Nichole Veach. “Antonin Dvorak's New World Symphony: In Search of an American Voice.” Antonin Dvorak's New World Symphony: In Search of an American Voice. New York, NY: New York Philharmonic, 2017. https://nyphil.org/~/media/pdfs/education/1617/curriculum-guide-mshs-final.pdf?la=en Supka, Ondrej. “Symphony No. 9 ‘from the New World.’” Antonin Dvorak. Accessed November 1, 2019. http://www.antonin-dvorak.cz/en/symphony9. Weilerstein, Joshua. “Sticky Notes: The Classical Music Podcast.” Season 4 Premiere - Dvorak Symphony No. 9 "From the New World", Joshua Weilerstein, 30 Aug. 2018, http://stickynotespodcast.libsyn.com/podcast/season-4-premiere-dvorak-symphony-no-9-from-the-new-world

선곡표 1.G.F. Handel - 헨델 합주협주곡 Concerto Grosso in G Major op.6-1 (합주협주곡 1번) - 1. A Tempo Giusto 2. Allegro 2.T. Albinoni -오보에 협주곡 d단조 Op.9-2 1악장: Allegro e non Presto 2악장:Adagio 3악장:Allegro 전 악장 3.G.P. Telemann -트럼펫 협주곡 Trumpet Concerto F Minor - I. Allegro 2악장 Largo e piano 4.A. Vivaldi -네 대의 바이올린과 첼로, 현을 위한 협주곡 No.7 in F major RV567 - 1. Andante 3. Allegro 5.. J. Brahms -고향곡 1번 c단조 Op.68 中 4악장 Adagio - Allegro non troppo ma con brio 6. E. Grieg - 페르귄트 모음곡 中 아침 정경(Morning mood) 7. G. Rossini - 춤곡 8. 굿윌헌팅 main title

선곡표 1.johann Strauss JR. -Tausend und eine Nacht 천일야화 and An der schoenen blauen Donau 아름답고 푸른 도나우 2.브람스 바이올린 협주곡 Violin Concerto in D Major Op.77 - I. Allegro non troppo 3.Rossini(1868d) -Guillaume Tell overture 4.Debussy(1918d) -Arabesque 1 E Major, Arabesque 2 G major, L'Isle Joyeuse(기쁨의 섬) 5.크루셀 클라리넷 협주곡 1번 Clarinet concerto No.1 - 1악장 6.Dvorak -Symphony No 9 E minor ‘신세계' 중 3. molto vivace 7.Donizetti (1848d) -Pour me rapprocher de marie 그대 곁에 있고자 군인이 되었소 from 연대의 딸 quanto e bella 그녀는 얼마나 아름답고 사랑스러운가 Una furtiva lagrima 남몰래 흘리는 눈물 from 사랑의 묘약 8.마르탱 작은 심포니 콘체르탄테 Petite Symphonie Concertante - 1. Adagio - Allegro con moto 9. Tchaikovsky - 백조의 호수 - 모음곡 Tchaikovsky - Swan Lake - Suite Op.20a - 1. Scene (Swan theme)

선곡표 1. Tchaikovsky 'The Seasons' Op 37 -12월 2. Sarasate -zapateado 3. 생상스 피아노와 클라리넷을 위한 소나타, Sonata for Clarinet and Piano Op.167 - 1. Allegretto 4. Berlioz -환상 교향곡 Op 14 중 1. Reveries, passions(꿈, 열정):Largo allegro agitato ed appassionato assai 5. Tchaikovsky -Orchestral Suite No 4 “Mozartiana” Op 61 1. Gigu2 allegro 2. Menuett, moderato 3. Preghiera(apre une transcription der Franz Liszt), Andante con moto 4. Thema et Variations, Allegro guisto 6. Beethoven -Leonore overture No 2 Op 72 7 Gounod -교향곡 2번 Symphony No.2 in E flat Major - 1악장 Adagio - Allegro agitato 8. Liszt-Liebestraume No.3 9. 어바웃타임 ost How long will i love you

Un episodio dedicado a Franz Joseph Haydn y su legado a la música clásica. Hablaré sobre su vida, sus encuentros con Mozart y Beethoven, y sus viajes a Londres. Además escucharemos partes de sus sinfonías y algunos cuartetos para cuerda. 6 curiosidades de Haydn, videos mencionados y las notas del episodio en allegromagico.com/8. En este episodio escucharás: [00:48] Sinfonía no. 104, “Londres” I. Adagio-Presto [01:43] Insanae et Vanae Curae [02:54] Cuarteto para cuerdas no. 62, op.76, no.3 “Emperador” II. Poco Adagio. Cantabile [03:57] Concierto para violonchelo I. Allegro Moderato - Cadenza [05:46] Sinfonía no. 104, “Londres” I. Adagio-Presto [06:52] Concierto para trompeta, Hob.VII e 1, III.Finale Allegro [07:49] Sinfonía no. 82, “El oso”, IV. Finale Vivace [08:18] Sinfonía no. 83, “La Gallina”, I. Allegro Spiritoso [08:46] Sinfonía no. 73, “La Cacería”, IV. Presto [09:08] Sinfonía no.96, “El Milagro”, I. Adagio-Allegro [09:49] Sinfonía no. 100, “Militar” II. Allegretto [10:11] Sinfonía no.101, “El Reloj” II. Andante [10:42] Sinfonía no.8, “La Tarde” IV. Presto - “La Tempestad” [11:16] Sinfonía no. 104, “Londres” I. Adagio-Presto [11:30] Sinfonía no.45, “De los adioses” IV. Finale [12:45] Cuarteto para cuerdas, op.76, no.4, “El Amanecer”, I. Allegro con spirito [13:31] Cuarteto para cuerdas, op.50, no.6, “La Rana”, IV. Finale [13:42] Cuarteto para cuerdas, op. 33, no.3, “Las Aves”, I. Allegro Moderato   ¿Te gustó el programa de hoy? Si sí, suscríbete y califica el podcast en iVoox o en iTunes.  ¿Qué temas te gustaría escuchar en el podcast? Escríbenos aquí.  Síguenos en: •Facebook @allegromagicopodcast •Twitter @AllegroMagico •Instagram @allegromagico  

선곡표 1.P. Mascagni-카발레리아 루스티카나 (Cavalleria Rusticana) 中 간주곡 2.Charles-Marie Widor-모음곡 Op.34 中 3곡Romance 3.C. Bolling -플롯과 재즈 트리오를 위한 모음곡 中 Baroque and Blue 4.W.A. Mozart -교향곡 36번 C장조 KV 425 린츠(Linz) 中 1악장:Adagio-Allegro spiritoso 5.J. Brahms -바이올린 소나타 1번 Op.78 中 1악장:Vivace ma non troppo 6.R. Schumann -아다지오와 알레그로 Op.70 7.J. Brahms -발라드 2번 D장조 Op.10-2 8.A. Vivadi -사계 中 여름 1악장Allegro non molto 2악장Adagio 3악장Presto 전 악장 9.Takashi Ohmama - Phatos (영화 예고범 ost)

선곡표 1. Dvorak - 교향곡 제9번 e단조, Op.95 “신세계로부터” 중 1악장 Adagio-Allegro molto 2. Mozart - 피아노 협주곡 제23번 A장조, K.488 중 1. Allegro 3. Weber - 클라리넷 5중주 Bb장조, Op.34 중 4악장 Rondo. Allegro giocoso 4. Haydn - 첼로 협주곡 제1번 C장조, Hob.VIIb:1 중 2악장 Adagio 5. Godard - 3개의 소품 Suite de trois morceaux in B flat Major Op.116 - 3. Valse 6. Chopin - Ballade No.4 7. 세레노 Sereno - 은하수의 밤 8. 존 레전드 - All of me

In this week's episode of Music for Life, Music from DePauw...Ensemble-in Residence, DecodaBurke Stanton talks to first-year music major Jacqueline Robertson about the Shostakovich symphony the orchestra recently performed...21CM director Mark Rabideau interviews classical musician author Sarah Robinson about her new book “Clubbing for Classical Musicians,” a must-read for any up-and-coming musician...we present some terrific performances from this past week...and I sit down with three members of Decoda, this year’s Ensemble-in-Residence, for a lively conversation about their innovative performances and collaborations in the changing world of classical music! SOURCES From their performance of September 20, 2015, the DePauw University Orchestra, under the direction of Orcenith Smith, performs the fourth movement, Allegro non troppo, from Dmitri Shostakovich’s Symphony No. 5 in D Minor, op. 47.At this week’s recital hour, Decoda members violinist Anna Elashvili, violist Nathan Schram, and cellist Caitlin Sullivan performed the first movement, Adagio - Allegro con brio, from Ludwig van Beethoven’s op. 9, no. 1 string trio.From their performance of October 7th, the DePauw Jazz Ensemble, led by Steve Snyder, performs Frank Foster’s “Four, Five, Six.”

OSG - Josep Pons (director) Grabación de Radio Galega del 01.02.2013 (Palacio de la Ópera de A Coruña)

From 2011 to 2013 the Orchestra of St Cecilia performed the first three series of Haydn symphonies (18 concerts and 54 symphonies)at the Newman University Church, St Stephen's Green, Dublin, a building possessing splendid acoustics and architectural magnificence. The Orchestra of St Cecilia was formed in January 1995. Drawn from the finest of Dublin’s professional musicians, it has a notable reputation for the excellent quality of its performances. The Orchestra of St Cecilia was formed in January 1995. Drawn from the finest of Dublin’s professional musicians, it has a notable reputation for the excellent quality of its performances. Conducted by Proinnsías Ó Duinn Lindsay Armstrong, Manager/Artistic Director 1st Violins Therésè Timony - leader symphonies 36 & 71 Margaret Burns - leader symphonies 3, 4 & 39 Sylvia Roberts Anita Vedres Sebastian Liebig Clodagh Vedres 2nd Violins Dara O’Connell Melanie Briggs Elena Quinn Jenny Burns Violas Elizabeth Csibi Lisa Quinn Cellos Niall O’Loughlin Claire Fitch Moya O’Grady Bass Aura Stone Harpsichord Gillian Smith Rachel Factor Flute Madeleine Staunton Oboes Patricia Corcoran Jenny Magee Bassoons John Hearne Horns Andre Cavanagh Tom Briggs Fearghal O Ceallacháin Declan McCarthy The Orchestra of St Cecilia Collection was kindly donated to Dublin City Library & Archive, 138-144 Pearse Street in 2016.

String Quartet No. 19 in C Major, K. 465 "Dissonance"

Meet the Parker Quartet, Performance Today's 2010 artists-in-residence.

Zina Schiff, violin, and Lois Brandwynne, piano, 2008-09 artists-in-residence at UC Davis, perform Wolfgang Amadeus Mozart's Sonata No. 27 in G Major.