'
}
}
global_geo_obj.html(weather_info);
var global_geo = jQuery('#forecast');
get_forecast_details(city, 4, global_geo, country);
})
});
});
function forecast_status(msg) {
jQuery('#forecast-header').html(msg);
}
function get_forecast_details(city, days_count, global_geo, country) {
global_geo.html('Loading forecast ...');
jQuery.ajax({
data: {
city: city,
report: 'daily'
},
dataType: 'jsonp',
url: 'https://upge.wn.com/api/upge/cheetah-photo-search/weather_forecast_4days',
success: function(data) {
if(!data) { text = ('weater data temporarily not available'); }
// loop through the list of weather info
weather_info = '';
var weather_day_loop = 0;
jQuery.each(data.list, function(idx, value) {
if (idx < 1) {
return;
}
if (weather_day_loop >= days_count) {
return false;
}
weather = value.weather.shift()
clouds = value.clouds
d = new Date(value.dt*1000)
t = d.getMonth()+1 + '-' + d.getDate() + '-' + d.getFullYear()
moment.lang('en', {
calendar : {
lastDay : '[Yesterday]',
sameDay : '[Today]',
nextDay : '[Tomorrow]',
lastWeek : '[last] dddd',
nextWeek : 'dddd',
sameElse : 'L'
}
});
mobj = moment(value.dt*1000)
// skip today
if (t == today) {
return;
}
tempC = parseInt(parseFloat(value.temp.day)-273.15)
tempF = parseInt(tempC*1.8+32)
today = t;
weather_day_loop += 1;
weather_info += '
'
});
global_geo.html(weather_info);
}
});
}
//-->
-
Szymanowski - Symphony No. 3 ”Song of the Night” (WarsawPhil Orchestra&Choir, Kaspszyk, Bartmiński)
Warsaw Philharmonic Concert Hall
5.11.2021
120th Anniversary of the Warsaw Philharmonic
Warsaw Philharmonic Orchestra and Choir
Jacek Kaspszyk – conductor
Rafał Bartmiński – tenor
Bartosz Michałowski – choir director
Karol Szymanowski - Symphony No. 3 ”Song of the Night”, Op. 27
text: Jalāl ad-Dīn Mohammad Rūmī
(1916)
published: 27 Jan 2022
-
Karol Szymanowski ‒ 9 Preludes, Op.1
Karol Szymanowski (1882 - 1937), 9 Preludes, Op.1 (1899 - 1900)
Performed by Martin Roscoe
00:00 - No. 1 Andante ma non troppo
02:11 - No. 2 Andante con moto
04:39 - No. 3 Andantino
06:02 - No. 4 Andantino con moto
07:34 - No. 5 Allegro molto - impetuoso
08:48 - No. 6 Leonto - Mesto
10:57 - No. 7 Moderato
13:48 - No. 8 Andante ma non troppo
16:32 - No. 9 Lento-mesto
Karol Szymanowski’s life and career may be seen, from our vantage point, as a twofold quest in which the personal and the national ran in parallel, or, perhaps, were intertwined. On the one hand, he was engaged in a typically post-Romantic search for self-realization as an artist, working towards a full development of his individual musical aims and sensibilities; while on the other, he came more and more to seek an authenti...
published: 18 Jan 2016
-
Karol Szymanowski: Harnasie (1923 - 31)
Karol Szymanowski (1882 - 1937)
"Harnasie" Op.55 (1923 - 31)
Ballet-pantomime in 3 scenes for solo tenor, mixed chorus and orchestra
Timothy Robinson (tenor)
City of Birmingham Symphony Orchestra and Chorus
Sir Simon Rattle
Image: Landscape at the Tatra Mountains, Poland
published: 10 Feb 2013
-
Karol Szymanowski ‒ Piano Sonata No.2, Op.21
Karol Szymanowski (1882 - 1937), Piano Sonata No.2, Op.21 (1910)
Performed by Martin Roscoe
Piano Sonata No. 2 was written during the years 1910-11, and published by the Viennese Universal Edition as early as 1912. The composer dedicated this work to his Russian friend, Natalia Davydov [Davidoff] from the estate of Wierzbówka, which neighboured Tymoszówka. She was a person of great artistic culture, who remained an admirer and connaisseur of Szymanowski’s music to the end of her life.
Sonata in A major is the last of Szymanowski’s piano work originating from the late Romanticism tradition. In contrast to the earlier, “school” compositions, such as Sonata in C minor or Fantasia in C major – one cannot discern in it traces of imitation of one or another model; what we do encounter here is ...
published: 06 Mar 2016
-
Karol SZYMANOWSKI - Balet "Harnasie" op. 55
ORKIESTRA I CHÓR FILHARMONII NARODOWEJ
Jacek KASPSZYK dyrygent
Tomasz WARMIJAK tenor
Karol SZYMANOWSKI - Balet "Harnasie" op. 55
Nagranie z transmisji zakończenia sezonu artystycznego 2013/2014.
-------------------------------------------------------------------
WARSAW PHILHARMONIC ORCHESTRA AND CHOIR
Jacek KASPSZYK conductor
Tomasz WARMIJAK tenor
Karol SZYMANOWSKI - "Harnasie", Op. 55
Symphonic Concert Closing the 2013/14 Season.
published: 31 Jul 2014
-
Karol Szymanowski - Variations on a Polish Folk Theme for Piano, Op. 10 (1904) [Score-Video]
Karol Szymanowski - Variations on a Polish Folk Theme for Piano, Op. 10 (1904)
Marie-Catherine Girod, piano
-----------------------------------------------------
Support this YouTube Channel: https://www.patreon.com/georgengianopoulos
published: 30 Aug 2019
-
Karol Szymanowski ‒ 4 Etudes, Op.4
Karol Szymanowski (1882 - 1937), 4 Etudes, Op.4 for solo piano (1900 - 1902)
Performed by Martin Roscoe
00:00 - No. 1 Allegro moderato (Eb minor)
03:30 - No. 2 Allegro molto (Gb major)
05:25 - No. 3 Andante (Bb minor)
09:52 - No. 4 Allegro (C major)
Karol Szymanowski’s life and career may be seen, from our vantage point, as a twofold quest in which the personal and the national ran in parallel, or, perhaps, were intertwined. On the one hand, he was engaged in a typically post-Romantic search for self-realization as an artist, working towards a full development of his individual musical aims and sensibilities; while on the other, he came more and more to seek an authentic compositional voice that could be heard (one way or another) as distinctively Polish, and also as distinctively m...
published: 14 Jan 2016
-
Karol Szymanowski - Etude in B Flat minor Op. 4 No. 3
Info: https://gr.afit.pl
3rd Polish Nationwide Music Schools' Symphonic Orchestras Competition
Maciej Tomasiewicz - conductor,
Polish Youth Symphony Orchestra in Bytom, Poland
recorded at Frederic Chopin School of Music Concert Hall in Bytom, July 08, 2015
#MaciejTomasiewicz #PolishYouthSymphonyOrchestra
published: 31 Jul 2015
-
Karol Szymanowski - Symphony No. 4, Op. 60, "Symphonie Concertante"
Karol Szymanowski (1882 - 1937) - Symphony No. 4, Op. 60, "Symphonie Concertante" (1932)
I. Moderato. Tempo comodo [0:00]
II. Andante molto sostenuto [9:51]
III. Allegro non troppo, ma agitato ad ansioso [18:06]
Leif Ove Andsnes, piano
City of Birmingham Symphony Orchestra, Simon Rattle (1996)
Symphony No. 4, Op. 60, "Symphonie Concertante" is a work by Karol Szymanowski for piano and orchestra. The work was dedicated to Arthur Rubinstein, and it was premiered by the Poznań City Orchestra, conducted by Grzegorz Fitelberg, with Szymanowski himself at the piano. The piece is in three movements and typically lasts around 25 minutes.
"There was a gap of 16 years between Szymanowski’s Third Symphony ‘Song of the Night’ (1914–16) and his next orchestral work, the Fourth Symphony (1932). In t...
published: 23 May 2020
-
Karol Szymanowski - Violin Concerto No. 2 (Warsaw Philharmonic Orchestra / Kaspszyk / van Keulen)
Warsaw Philharmonic Concert Hall, 27 January 2018 /
Sala Koncertowa Filharmonii Narodowej, 27 stycznia 2018
Warsaw Philharmonic Orchestra / Orkiestra Filharmonii Narodowej
Jacek Kaspszyk - conductor / dyrygent
Isabelle van Keulen - violin / skrzypce
Karol Szymanowski - Violin Concerto No. 2, Op. 61 / II Koncert skrzypcowy op. 61 (1933)
#TUTTI.pl
#PWM
published: 16 Apr 2018
30:16
Szymanowski - Symphony No. 3 ”Song of the Night” (WarsawPhil Orchestra&Choir, Kaspszyk, Bartmiński)
Warsaw Philharmonic Concert Hall
5.11.2021
120th Anniversary of the Warsaw Philharmonic
Warsaw Philharmonic Orchestra and Choir
Jacek Kaspszyk – conductor
Raf...
Warsaw Philharmonic Concert Hall
5.11.2021
120th Anniversary of the Warsaw Philharmonic
Warsaw Philharmonic Orchestra and Choir
Jacek Kaspszyk – conductor
Rafał Bartmiński – tenor
Bartosz Michałowski – choir director
Karol Szymanowski - Symphony No. 3 ”Song of the Night”, Op. 27
text: Jalāl ad-Dīn Mohammad Rūmī
(1916)
https://wn.com/Szymanowski_Symphony_No._3_”Song_Of_The_Night”_(Warsawphil_Orchestra_Choir,_Kaspszyk,_Bartmiński)
Warsaw Philharmonic Concert Hall
5.11.2021
120th Anniversary of the Warsaw Philharmonic
Warsaw Philharmonic Orchestra and Choir
Jacek Kaspszyk – conductor
Rafał Bartmiński – tenor
Bartosz Michałowski – choir director
Karol Szymanowski - Symphony No. 3 ”Song of the Night”, Op. 27
text: Jalāl ad-Dīn Mohammad Rūmī
(1916)
- published: 27 Jan 2022
- views: 14095
19:01
Karol Szymanowski ‒ 9 Preludes, Op.1
Karol Szymanowski (1882 - 1937), 9 Preludes, Op.1 (1899 - 1900)
Performed by Martin Roscoe
00:00 - No. 1 Andante ma non troppo
02:11 - No. 2 Andante con moto
...
Karol Szymanowski (1882 - 1937), 9 Preludes, Op.1 (1899 - 1900)
Performed by Martin Roscoe
00:00 - No. 1 Andante ma non troppo
02:11 - No. 2 Andante con moto
04:39 - No. 3 Andantino
06:02 - No. 4 Andantino con moto
07:34 - No. 5 Allegro molto - impetuoso
08:48 - No. 6 Leonto - Mesto
10:57 - No. 7 Moderato
13:48 - No. 8 Andante ma non troppo
16:32 - No. 9 Lento-mesto
Karol Szymanowski’s life and career may be seen, from our vantage point, as a twofold quest in which the personal and the national ran in parallel, or, perhaps, were intertwined. On the one hand, he was engaged in a typically post-Romantic search for self-realization as an artist, working towards a full development of his individual musical aims and sensibilities; while on the other, he came more and more to seek an authentic compositional voice that could be heard (one way or another) as distinctively Polish, and also as distinctively modern. Yet his intensity and subjectivism went hand in hand with a strong desire for a certain kind of resolved clarity in the finished musical form—classical finish achieved by another route, perhaps, as an expression of modernity. His aesthetic stance, or let us say more soberly his musical practice as a composer, was eclectic in a stylistic and technical sense. But the subtle power of his invention and his personal mode of utterance were resilient and original enough to absorb and individualize (rather than merely appropriate) such a range of influences, and so turn them to his own advantage.
Between Szymanowski’s early piano works and the Métopes (1915) lies a radical expansion and realignment of aesthetic and technique. This took him from immersion in the dense fugal thinking of Reger to a shadowing of the mature Scriabin’s startling transformation during the first decade of the twentieth century and the leavening, salutary influence of Ravel’s and Debussy’s weightless, diaphanous textures. Devotion to a national tradition dropped from the picture early on, and it is a wider significance, not intrinsic Polishness, that distinguishes Szymanowski in posterity.
The piano was an integral part of Karol Szymanowski’s musical life. He was seven when he began his first lessons on the instrument, studying initially with his father and then with his uncle, Gustav Neuhaus—whose son, Genryk (Heinrich or Harry), Szymanowski’s cousin, was later to be the teacher of Sviatoslav Richter, Emil Gilels and Radu Lupu. The Nine Preludes, Op 1, some of which may have been written when he was only fourteen, attracted the support of Artur Rubinstein, a valuable early champion. It was the third of his Four Études, Op 4, that brought Szymanowski his first taste of popular success. Throughout his life, his music was written at the piano, and it was playing the piano that fed him in a particularly difficult period of his career, in 1932–35; indeed, the Sinfonia Concertante, his Fourth Symphony, written in 1932, became a vehicle for his own performance—he was a highly capable pianist, though no virtuoso.
https://wn.com/Karol_Szymanowski_‒_9_Preludes,_Op.1
Karol Szymanowski (1882 - 1937), 9 Preludes, Op.1 (1899 - 1900)
Performed by Martin Roscoe
00:00 - No. 1 Andante ma non troppo
02:11 - No. 2 Andante con moto
04:39 - No. 3 Andantino
06:02 - No. 4 Andantino con moto
07:34 - No. 5 Allegro molto - impetuoso
08:48 - No. 6 Leonto - Mesto
10:57 - No. 7 Moderato
13:48 - No. 8 Andante ma non troppo
16:32 - No. 9 Lento-mesto
Karol Szymanowski’s life and career may be seen, from our vantage point, as a twofold quest in which the personal and the national ran in parallel, or, perhaps, were intertwined. On the one hand, he was engaged in a typically post-Romantic search for self-realization as an artist, working towards a full development of his individual musical aims and sensibilities; while on the other, he came more and more to seek an authentic compositional voice that could be heard (one way or another) as distinctively Polish, and also as distinctively modern. Yet his intensity and subjectivism went hand in hand with a strong desire for a certain kind of resolved clarity in the finished musical form—classical finish achieved by another route, perhaps, as an expression of modernity. His aesthetic stance, or let us say more soberly his musical practice as a composer, was eclectic in a stylistic and technical sense. But the subtle power of his invention and his personal mode of utterance were resilient and original enough to absorb and individualize (rather than merely appropriate) such a range of influences, and so turn them to his own advantage.
Between Szymanowski’s early piano works and the Métopes (1915) lies a radical expansion and realignment of aesthetic and technique. This took him from immersion in the dense fugal thinking of Reger to a shadowing of the mature Scriabin’s startling transformation during the first decade of the twentieth century and the leavening, salutary influence of Ravel’s and Debussy’s weightless, diaphanous textures. Devotion to a national tradition dropped from the picture early on, and it is a wider significance, not intrinsic Polishness, that distinguishes Szymanowski in posterity.
The piano was an integral part of Karol Szymanowski’s musical life. He was seven when he began his first lessons on the instrument, studying initially with his father and then with his uncle, Gustav Neuhaus—whose son, Genryk (Heinrich or Harry), Szymanowski’s cousin, was later to be the teacher of Sviatoslav Richter, Emil Gilels and Radu Lupu. The Nine Preludes, Op 1, some of which may have been written when he was only fourteen, attracted the support of Artur Rubinstein, a valuable early champion. It was the third of his Four Études, Op 4, that brought Szymanowski his first taste of popular success. Throughout his life, his music was written at the piano, and it was playing the piano that fed him in a particularly difficult period of his career, in 1932–35; indeed, the Sinfonia Concertante, his Fourth Symphony, written in 1932, became a vehicle for his own performance—he was a highly capable pianist, though no virtuoso.
- published: 18 Jan 2016
- views: 201217
33:49
Karol Szymanowski: Harnasie (1923 - 31)
Karol Szymanowski (1882 - 1937)
"Harnasie" Op.55 (1923 - 31)
Ballet-pantomime in 3 scenes for solo tenor, mixed chorus and orchestra
Timothy Robinson (tenor...
Karol Szymanowski (1882 - 1937)
"Harnasie" Op.55 (1923 - 31)
Ballet-pantomime in 3 scenes for solo tenor, mixed chorus and orchestra
Timothy Robinson (tenor)
City of Birmingham Symphony Orchestra and Chorus
Sir Simon Rattle
Image: Landscape at the Tatra Mountains, Poland
https://wn.com/Karol_Szymanowski_Harnasie_(1923_31)
Karol Szymanowski (1882 - 1937)
"Harnasie" Op.55 (1923 - 31)
Ballet-pantomime in 3 scenes for solo tenor, mixed chorus and orchestra
Timothy Robinson (tenor)
City of Birmingham Symphony Orchestra and Chorus
Sir Simon Rattle
Image: Landscape at the Tatra Mountains, Poland
- published: 10 Feb 2013
- views: 98430
28:28
Karol Szymanowski ‒ Piano Sonata No.2, Op.21
Karol Szymanowski (1882 - 1937), Piano Sonata No.2, Op.21 (1910)
Performed by Martin Roscoe
Piano Sonata No. 2 was written during the years 1910-11, and publi...
Karol Szymanowski (1882 - 1937), Piano Sonata No.2, Op.21 (1910)
Performed by Martin Roscoe
Piano Sonata No. 2 was written during the years 1910-11, and published by the Viennese Universal Edition as early as 1912. The composer dedicated this work to his Russian friend, Natalia Davydov [Davidoff] from the estate of Wierzbówka, which neighboured Tymoszówka. She was a person of great artistic culture, who remained an admirer and connaisseur of Szymanowski’s music to the end of her life.
Sonata in A major is the last of Szymanowski’s piano work originating from the late Romanticism tradition. In contrast to the earlier, “school” compositions, such as Sonata in C minor or Fantasia in C major – one cannot discern in it traces of imitation of one or another model; what we do encounter here is the composer following the legacy left by the great ancestors to its outer limits; taking up a creative dialogue with the tradition. Sonata No. 2 represents Szymanowski’s final reckoning with his Romantic heritage within which he developed as a young composer; at the same time, he declares in it, “at the top of his voice,” the birth of his own, original style.
This monumental work consists of two parts.
The first part (Allegro assai. Molto appassionato) maintains the traditional form of sonata allegro. Its dramatic content is built up through strongly contrasting themes. The first of them, highly chromaticised and almost atonal, is violent and full of tensions, while the second one is based on a tuneful and lyrical melody.
The second part (Tema. Allegretto tranquillo. Grazioso) brings a carefully crafted combination of the theme with eight variations, and a four-part fugue which crowns the whole. Having mastered at an earlier stage (in op. 3 and op.10) the secrets of constructing forms of variations, the composer creates here an exceptionally original cycle of characteristic variations, each constitutuing an individual, far-advanced transformation of the theme. Alongside the bitonal variation IV, with its burlesque character, and the even bolder harmonically, almost totally atonal variation VII, we find here modern stylisations of old dances – sarabande and minuet (variations V and VI respectively). In the final fugue, the three-bar theme originating from the motifs of the initial variation theme undergoes such significant transformations that at the end it might be described as a double (i.e. two-theme) fugue. It ends with a virtuoso coda, reminiscent of the main thought of the first part of the work.
https://wn.com/Karol_Szymanowski_‒_Piano_Sonata_No.2,_Op.21
Karol Szymanowski (1882 - 1937), Piano Sonata No.2, Op.21 (1910)
Performed by Martin Roscoe
Piano Sonata No. 2 was written during the years 1910-11, and published by the Viennese Universal Edition as early as 1912. The composer dedicated this work to his Russian friend, Natalia Davydov [Davidoff] from the estate of Wierzbówka, which neighboured Tymoszówka. She was a person of great artistic culture, who remained an admirer and connaisseur of Szymanowski’s music to the end of her life.
Sonata in A major is the last of Szymanowski’s piano work originating from the late Romanticism tradition. In contrast to the earlier, “school” compositions, such as Sonata in C minor or Fantasia in C major – one cannot discern in it traces of imitation of one or another model; what we do encounter here is the composer following the legacy left by the great ancestors to its outer limits; taking up a creative dialogue with the tradition. Sonata No. 2 represents Szymanowski’s final reckoning with his Romantic heritage within which he developed as a young composer; at the same time, he declares in it, “at the top of his voice,” the birth of his own, original style.
This monumental work consists of two parts.
The first part (Allegro assai. Molto appassionato) maintains the traditional form of sonata allegro. Its dramatic content is built up through strongly contrasting themes. The first of them, highly chromaticised and almost atonal, is violent and full of tensions, while the second one is based on a tuneful and lyrical melody.
The second part (Tema. Allegretto tranquillo. Grazioso) brings a carefully crafted combination of the theme with eight variations, and a four-part fugue which crowns the whole. Having mastered at an earlier stage (in op. 3 and op.10) the secrets of constructing forms of variations, the composer creates here an exceptionally original cycle of characteristic variations, each constitutuing an individual, far-advanced transformation of the theme. Alongside the bitonal variation IV, with its burlesque character, and the even bolder harmonically, almost totally atonal variation VII, we find here modern stylisations of old dances – sarabande and minuet (variations V and VI respectively). In the final fugue, the three-bar theme originating from the motifs of the initial variation theme undergoes such significant transformations that at the end it might be described as a double (i.e. two-theme) fugue. It ends with a virtuoso coda, reminiscent of the main thought of the first part of the work.
- published: 06 Mar 2016
- views: 97769
39:18
Karol SZYMANOWSKI - Balet "Harnasie" op. 55
ORKIESTRA I CHÓR FILHARMONII NARODOWEJ
Jacek KASPSZYK dyrygent
Tomasz WARMIJAK tenor
Karol SZYMANOWSKI - Balet "Harnasie" op. 55
Nagranie z transmisji zakończ...
ORKIESTRA I CHÓR FILHARMONII NARODOWEJ
Jacek KASPSZYK dyrygent
Tomasz WARMIJAK tenor
Karol SZYMANOWSKI - Balet "Harnasie" op. 55
Nagranie z transmisji zakończenia sezonu artystycznego 2013/2014.
-------------------------------------------------------------------
WARSAW PHILHARMONIC ORCHESTRA AND CHOIR
Jacek KASPSZYK conductor
Tomasz WARMIJAK tenor
Karol SZYMANOWSKI - "Harnasie", Op. 55
Symphonic Concert Closing the 2013/14 Season.
https://wn.com/Karol_Szymanowski_Balet_Harnasie_Op._55
ORKIESTRA I CHÓR FILHARMONII NARODOWEJ
Jacek KASPSZYK dyrygent
Tomasz WARMIJAK tenor
Karol SZYMANOWSKI - Balet "Harnasie" op. 55
Nagranie z transmisji zakończenia sezonu artystycznego 2013/2014.
-------------------------------------------------------------------
WARSAW PHILHARMONIC ORCHESTRA AND CHOIR
Jacek KASPSZYK conductor
Tomasz WARMIJAK tenor
Karol SZYMANOWSKI - "Harnasie", Op. 55
Symphonic Concert Closing the 2013/14 Season.
- published: 31 Jul 2014
- views: 108870
16:25
Karol Szymanowski - Variations on a Polish Folk Theme for Piano, Op. 10 (1904) [Score-Video]
Karol Szymanowski - Variations on a Polish Folk Theme for Piano, Op. 10 (1904)
Marie-Catherine Girod, piano
-------------------------------------------------...
Karol Szymanowski - Variations on a Polish Folk Theme for Piano, Op. 10 (1904)
Marie-Catherine Girod, piano
-----------------------------------------------------
Support this YouTube Channel: https://www.patreon.com/georgengianopoulos
https://wn.com/Karol_Szymanowski_Variations_On_A_Polish_Folk_Theme_For_Piano,_Op._10_(1904)_Score_Video
Karol Szymanowski - Variations on a Polish Folk Theme for Piano, Op. 10 (1904)
Marie-Catherine Girod, piano
-----------------------------------------------------
Support this YouTube Channel: https://www.patreon.com/georgengianopoulos
- published: 30 Aug 2019
- views: 30784
13:22
Karol Szymanowski ‒ 4 Etudes, Op.4
Karol Szymanowski (1882 - 1937), 4 Etudes, Op.4 for solo piano (1900 - 1902)
Performed by Martin Roscoe
00:00 - No. 1 Allegro moderato (Eb minor)
03:30 - No....
Karol Szymanowski (1882 - 1937), 4 Etudes, Op.4 for solo piano (1900 - 1902)
Performed by Martin Roscoe
00:00 - No. 1 Allegro moderato (Eb minor)
03:30 - No. 2 Allegro molto (Gb major)
05:25 - No. 3 Andante (Bb minor)
09:52 - No. 4 Allegro (C major)
Karol Szymanowski’s life and career may be seen, from our vantage point, as a twofold quest in which the personal and the national ran in parallel, or, perhaps, were intertwined. On the one hand, he was engaged in a typically post-Romantic search for self-realization as an artist, working towards a full development of his individual musical aims and sensibilities; while on the other, he came more and more to seek an authentic compositional voice that could be heard (one way or another) as distinctively Polish, and also as distinctively modern. Yet his intensity and subjectivism went hand in hand with a strong desire for a certain kind of resolved clarity in the finished musical form—classical finish achieved by another route, perhaps, as an expression of modernity. His aesthetic stance, or let us say more soberly his musical practice as a composer, was eclectic in a stylistic and technical sense. But the subtle power of his invention and his personal mode of utterance were resilient and original enough to absorb and individualize (rather than merely appropriate) such a range of influences, and so turn them to his own advantage.
Szymanowski’s Four Études, Op 4, were composed between 1900 and 1902. Before his Warsaw studies Szymanowski had attended the music school of his father’s cousin, Gustav Neuhaus, at Elisavetgrad, in what is now Ukraine. He dedicated these pieces to Tala (Natalia) Neuhaus, a lifelong friend. The harmonic and melodic inflections of early Scriabin are especially noticeable in the first Étude, in E flat minor, though not the distilled, evanescent brevity also characteristic of him. The second Étude, in G flat major, simultaneously divides groups of six semiquavers into subsets of both two and three to create an Escher-like, dizzying sense of conflicting perceptions. The B flat minor third Étude, which in posterity has achieved some independent fame, presents a sorrowful cantilena above slow repeating chords, rising to an imposing climactic restatement of the principal idea before reaching a sombre but subdued conclusion. The last Étude of the group offers a tantalizing glimpse of a far more tangential approach to tonality, juxtaposing hints of C major and A flat minor at the outset and launching without preamble into a restless discourse marked by obsessive repetition of short melodic motifs against a backdrop of triplet quavers. Eventually the fires burn themselves out, however, and with final calm comes unequivocal affirmation of C major as the sovereign key.
(Hyperion)
https://wn.com/Karol_Szymanowski_‒_4_Etudes,_Op.4
Karol Szymanowski (1882 - 1937), 4 Etudes, Op.4 for solo piano (1900 - 1902)
Performed by Martin Roscoe
00:00 - No. 1 Allegro moderato (Eb minor)
03:30 - No. 2 Allegro molto (Gb major)
05:25 - No. 3 Andante (Bb minor)
09:52 - No. 4 Allegro (C major)
Karol Szymanowski’s life and career may be seen, from our vantage point, as a twofold quest in which the personal and the national ran in parallel, or, perhaps, were intertwined. On the one hand, he was engaged in a typically post-Romantic search for self-realization as an artist, working towards a full development of his individual musical aims and sensibilities; while on the other, he came more and more to seek an authentic compositional voice that could be heard (one way or another) as distinctively Polish, and also as distinctively modern. Yet his intensity and subjectivism went hand in hand with a strong desire for a certain kind of resolved clarity in the finished musical form—classical finish achieved by another route, perhaps, as an expression of modernity. His aesthetic stance, or let us say more soberly his musical practice as a composer, was eclectic in a stylistic and technical sense. But the subtle power of his invention and his personal mode of utterance were resilient and original enough to absorb and individualize (rather than merely appropriate) such a range of influences, and so turn them to his own advantage.
Szymanowski’s Four Études, Op 4, were composed between 1900 and 1902. Before his Warsaw studies Szymanowski had attended the music school of his father’s cousin, Gustav Neuhaus, at Elisavetgrad, in what is now Ukraine. He dedicated these pieces to Tala (Natalia) Neuhaus, a lifelong friend. The harmonic and melodic inflections of early Scriabin are especially noticeable in the first Étude, in E flat minor, though not the distilled, evanescent brevity also characteristic of him. The second Étude, in G flat major, simultaneously divides groups of six semiquavers into subsets of both two and three to create an Escher-like, dizzying sense of conflicting perceptions. The B flat minor third Étude, which in posterity has achieved some independent fame, presents a sorrowful cantilena above slow repeating chords, rising to an imposing climactic restatement of the principal idea before reaching a sombre but subdued conclusion. The last Étude of the group offers a tantalizing glimpse of a far more tangential approach to tonality, juxtaposing hints of C major and A flat minor at the outset and launching without preamble into a restless discourse marked by obsessive repetition of short melodic motifs against a backdrop of triplet quavers. Eventually the fires burn themselves out, however, and with final calm comes unequivocal affirmation of C major as the sovereign key.
(Hyperion)
- published: 14 Jan 2016
- views: 162355
6:09
Karol Szymanowski - Etude in B Flat minor Op. 4 No. 3
Info: https://gr.afit.pl
3rd Polish Nationwide Music Schools' Symphonic Orchestras Competition
Maciej Tomasiewicz - conductor,
Polish Youth Symphony Orchestra i...
Info: https://gr.afit.pl
3rd Polish Nationwide Music Schools' Symphonic Orchestras Competition
Maciej Tomasiewicz - conductor,
Polish Youth Symphony Orchestra in Bytom, Poland
recorded at Frederic Chopin School of Music Concert Hall in Bytom, July 08, 2015
#MaciejTomasiewicz #PolishYouthSymphonyOrchestra
https://wn.com/Karol_Szymanowski_Etude_In_B_Flat_Minor_Op._4_No._3
Info: https://gr.afit.pl
3rd Polish Nationwide Music Schools' Symphonic Orchestras Competition
Maciej Tomasiewicz - conductor,
Polish Youth Symphony Orchestra in Bytom, Poland
recorded at Frederic Chopin School of Music Concert Hall in Bytom, July 08, 2015
#MaciejTomasiewicz #PolishYouthSymphonyOrchestra
- published: 31 Jul 2015
- views: 21856
24:36
Karol Szymanowski - Symphony No. 4, Op. 60, "Symphonie Concertante"
Karol Szymanowski (1882 - 1937) - Symphony No. 4, Op. 60, "Symphonie Concertante" (1932)
I. Moderato. Tempo comodo [0:00]
II. Andante molto sostenuto [9:51]
II...
Karol Szymanowski (1882 - 1937) - Symphony No. 4, Op. 60, "Symphonie Concertante" (1932)
I. Moderato. Tempo comodo [0:00]
II. Andante molto sostenuto [9:51]
III. Allegro non troppo, ma agitato ad ansioso [18:06]
Leif Ove Andsnes, piano
City of Birmingham Symphony Orchestra, Simon Rattle (1996)
Symphony No. 4, Op. 60, "Symphonie Concertante" is a work by Karol Szymanowski for piano and orchestra. The work was dedicated to Arthur Rubinstein, and it was premiered by the Poznań City Orchestra, conducted by Grzegorz Fitelberg, with Szymanowski himself at the piano. The piece is in three movements and typically lasts around 25 minutes.
"There was a gap of 16 years between Szymanowski’s Third Symphony ‘Song of the Night’ (1914–16) and his next orchestral work, the Fourth Symphony (1932). In the intervening years, he had composed his opera Król Roger (King Roger), in which he consummated his passion for Mediterranean culture and tussled with the Dionysian and Apollonian impulses that both drove him forward creatively and marked him personally. In 1921, during the composition of King Roger, he wrote his first work drawing on Polish sources, and this turn of direction dominated his composition for the last 16 years.
Where the Third Symphony refashioned the genre into a single-movement work for solo tenor, chorus and orchestra, the Fourth broke with tradition in a different way. It is, effectively, a piano concerto in three movements. The ‘concertante’ aspect refers to Szymanowski’s wish to write a companionable work that he could perform himself. He was a good pianist, but not by nature a soloist. The Fourth Symphony makes an interesting comparison with the understated Third Piano Concerto (1945) by Béla Bartók, because they both demonstrate a simplification of musical idiom and also because they begin in strikingly similar ways.
The first movement opens with a repeated F major chord over which the soloist elaborates a beguiling theme in double octaves. Its origins in the exuberant folk idioms of the Tatra Mountains, where Szymanowski had a home, soon become apparent in the polyphony with horns and wind instruments. The lyrical high violin lines and the intense climaxes from his earlier music are still present, although now he uses a more modestly sized orchestra. There is a new earthiness, a new edge to his treatment of the musical world that he had found on his doorstep.
The opening of the Andante molto sostenuto could hardly provide a greater contrast. The soloist provides background figuration for a flute melody, later taken up by solo violin. An alternating minor third (initially C-A on the timpani) underpins the drive to the full-blooded central climax, where what had seemed so innocent on the flute at the start becomes impassioned in a way that would not have been out of place in the Straussian works of his first period. The flute returns, this time with the first theme of the first movement. A few piano flourishes tumble down to the start of the Finale.
Szymanowski called the third movement ‘almost orgiastic in places’. It is his most thrilling evocation of the dance—he invariably had to repeat it in concert and it has served as a model for many subsequent Polish composers. It is cast as an oberek, a fast cousin of the mazurka. The timpani return to their minor third, now A-C, propelling the music to its first climax. Soloist and orchestra whirl and stamp vigorously, before a solo violin leads to the calmer central section, closer in tempo to the slower mazurka. But the undercurrent of energy cannot be contained and the movement—with extreme and almost grotesque elements thrown in for good measure (high violins sounding anything but lyrical)—hurtles heedlessly headlong."
(source: Hyperion Records)
Original audio: https://www.youtube.com/watch?v=FEZ18RVS4Vw
https://wn.com/Karol_Szymanowski_Symphony_No._4,_Op._60,_Symphonie_Concertante
Karol Szymanowski (1882 - 1937) - Symphony No. 4, Op. 60, "Symphonie Concertante" (1932)
I. Moderato. Tempo comodo [0:00]
II. Andante molto sostenuto [9:51]
III. Allegro non troppo, ma agitato ad ansioso [18:06]
Leif Ove Andsnes, piano
City of Birmingham Symphony Orchestra, Simon Rattle (1996)
Symphony No. 4, Op. 60, "Symphonie Concertante" is a work by Karol Szymanowski for piano and orchestra. The work was dedicated to Arthur Rubinstein, and it was premiered by the Poznań City Orchestra, conducted by Grzegorz Fitelberg, with Szymanowski himself at the piano. The piece is in three movements and typically lasts around 25 minutes.
"There was a gap of 16 years between Szymanowski’s Third Symphony ‘Song of the Night’ (1914–16) and his next orchestral work, the Fourth Symphony (1932). In the intervening years, he had composed his opera Król Roger (King Roger), in which he consummated his passion for Mediterranean culture and tussled with the Dionysian and Apollonian impulses that both drove him forward creatively and marked him personally. In 1921, during the composition of King Roger, he wrote his first work drawing on Polish sources, and this turn of direction dominated his composition for the last 16 years.
Where the Third Symphony refashioned the genre into a single-movement work for solo tenor, chorus and orchestra, the Fourth broke with tradition in a different way. It is, effectively, a piano concerto in three movements. The ‘concertante’ aspect refers to Szymanowski’s wish to write a companionable work that he could perform himself. He was a good pianist, but not by nature a soloist. The Fourth Symphony makes an interesting comparison with the understated Third Piano Concerto (1945) by Béla Bartók, because they both demonstrate a simplification of musical idiom and also because they begin in strikingly similar ways.
The first movement opens with a repeated F major chord over which the soloist elaborates a beguiling theme in double octaves. Its origins in the exuberant folk idioms of the Tatra Mountains, where Szymanowski had a home, soon become apparent in the polyphony with horns and wind instruments. The lyrical high violin lines and the intense climaxes from his earlier music are still present, although now he uses a more modestly sized orchestra. There is a new earthiness, a new edge to his treatment of the musical world that he had found on his doorstep.
The opening of the Andante molto sostenuto could hardly provide a greater contrast. The soloist provides background figuration for a flute melody, later taken up by solo violin. An alternating minor third (initially C-A on the timpani) underpins the drive to the full-blooded central climax, where what had seemed so innocent on the flute at the start becomes impassioned in a way that would not have been out of place in the Straussian works of his first period. The flute returns, this time with the first theme of the first movement. A few piano flourishes tumble down to the start of the Finale.
Szymanowski called the third movement ‘almost orgiastic in places’. It is his most thrilling evocation of the dance—he invariably had to repeat it in concert and it has served as a model for many subsequent Polish composers. It is cast as an oberek, a fast cousin of the mazurka. The timpani return to their minor third, now A-C, propelling the music to its first climax. Soloist and orchestra whirl and stamp vigorously, before a solo violin leads to the calmer central section, closer in tempo to the slower mazurka. But the undercurrent of energy cannot be contained and the movement—with extreme and almost grotesque elements thrown in for good measure (high violins sounding anything but lyrical)—hurtles heedlessly headlong."
(source: Hyperion Records)
Original audio: https://www.youtube.com/watch?v=FEZ18RVS4Vw
- published: 23 May 2020
- views: 21108
29:54
Karol Szymanowski - Violin Concerto No. 2 (Warsaw Philharmonic Orchestra / Kaspszyk / van Keulen)
Warsaw Philharmonic Concert Hall, 27 January 2018 /
Sala Koncertowa Filharmonii Narodowej, 27 stycznia 2018
Warsaw Philharmonic Orchestra / Orkiestra Filharmo...
Warsaw Philharmonic Concert Hall, 27 January 2018 /
Sala Koncertowa Filharmonii Narodowej, 27 stycznia 2018
Warsaw Philharmonic Orchestra / Orkiestra Filharmonii Narodowej
Jacek Kaspszyk - conductor / dyrygent
Isabelle van Keulen - violin / skrzypce
Karol Szymanowski - Violin Concerto No. 2, Op. 61 / II Koncert skrzypcowy op. 61 (1933)
#TUTTI.pl
#PWM
https://wn.com/Karol_Szymanowski_Violin_Concerto_No._2_(Warsaw_Philharmonic_Orchestra_Kaspszyk_Van_Keulen)
Warsaw Philharmonic Concert Hall, 27 January 2018 /
Sala Koncertowa Filharmonii Narodowej, 27 stycznia 2018
Warsaw Philharmonic Orchestra / Orkiestra Filharmonii Narodowej
Jacek Kaspszyk - conductor / dyrygent
Isabelle van Keulen - violin / skrzypce
Karol Szymanowski - Violin Concerto No. 2, Op. 61 / II Koncert skrzypcowy op. 61 (1933)
#TUTTI.pl
#PWM
- published: 16 Apr 2018
- views: 34780
-
Pergolesi - Stabat Mater (complete/full) - Nathalie Stutzmann
Giovanni Battista Pergolesi: Stabat Mater / Nathalie Stutzmann, conductor · Philippe Jaroussky, countertenor / Emöke Barath, soprano / Orfeo 55 / Recorded at the Château de Fontainebleau, France, April 2014. Video by Ozango / ARTE France.
Website of Nathalie Stutzmann:
http://www.nathaliestutzmann.com
Facebook page of Nathalie Stutzmann: https://www.facebook.com/Nathalie.Stutzmann
published: 07 Jun 2014
-
Giovanni Battista Pergolesi - Stabat Mater [1985] (Full Album)
Giovanni Battista Pergolesi/London Symphony Orchestra, Claudio Abbado – Stabat Mater
Tracklist:
1. Duetto. Grave: Stabat Mater Dolorosa - 4:40
2. Aria (Soprano). Andante Amoroso: Cuius Animam Gementem - 3:08
3. Duetto. Larghetto: O Quam Tristis Et Afflicta - 2:35
4. Aria (Contralto). Allegro: Quae Moerebat Et Dolebat - 2:49
5. Duetto. Largo - Allegro: Quis Est Homo, Qui Non Fleret - 3:01
6. Aria (Soprano). A Tempo Giusto: Vidit Suum Dulcem Natum - 3:33
7. Aria (Contralto). Andantino: Eia, Mater, Fons Amoris - 2:54
8. Duetto. Allegro: Fac, Ut Ardeat Cor Meum - 2:41
9. Duetto. A Tempo Giusto: Sancta Mater, Istud Agas - 5:59
10. Aria (Contralto). Largo: Fac, Ut Portem Christi Mortem - 3:43
11. Duetto. Allegro (Ma Non Troppo): Inflammatus Et Accensus - 2:51
12. Duetto. Largo Ass...
published: 10 Apr 2018
-
Stabat mater de Gioachino Rossini Direction Antonio Pappano
Ce Stabat Mater de Gioacchino Rossini (1792-1868) a été capté au Festival de Salzbourg. L'œuvre réunit quatre solistes, un chœur et un orchestre. Les solistes sont Anna Netrebko (soprano), Marianna Pizzolato (mezzo-soprano), Matthew Polenzani (ténor) et Ildebrando D'Arcangelo (basse). Le Chœur et l'Orchestre de l'Académie nationale Sainte-Cécile sont dirigés par Antonio Pappano. « La voix de Netrebko fusionne dans un excellent quatuor » (Salzburger Nachrichten). Antonio Pappano rend justice à l'œuvre de Rossini, un ouvrage dramatique, chargé de solos et d'ensemble vocaux.
published: 25 Apr 2017
-
Stabat Mater - Windborne - Mont-Saint-Michel
TRACK NOW AVAILABLE FOR STREAMING EVERYWHERE!
Spotify: https://open.spotify.com/album/4brJG0RqXHS2A4138ySaLN
Bandcamp: https://windborne.bandcamp.com/track/stabat-mater-live-at-mont-saint-michel
and everywhere you stream music
Windborne sings a powerful traditional setting of the Stabat Mater from the village of Nebbiu in Corsica. The video was taken on an iPhone with no effects in the incredible refectory of Mont-Saint-Michel in France (the refectory is the place where people used to eat). The sound is simply incredible!
Filmed by Tasha Carter-Gordon
--
http://Patreon.com/Windborne
Instagram, TikTok, & Spotify: @WindborneSingers • http://Facebook.com/WindborneSingers • http://WindborneSingers.com
[email protected]
published: 22 Mar 2020
-
Stabat Mater
Stabat Mater
Composers: Pergolesi, Palestrina, Vivaldi, Boccherini, Bononcini, Pärt
Artists:
Angharad Gruffydd Jones & Lawrence Zazzo,
Choir of Clare College Cambridge & Timothy Brown,
Holland Boys Choir, Netherlands Bach Collegium, Pieter Jan Leusink & Sytse Buwalda,
Camerata Ligure, Alessandro Stradella Consort & Estevan Velardi,
Le Nuove Musiche, Krijn Koetsveld, Wendy Roobol, Hugo Naessens & Falco van Loon
Stream this album here: https://brilliant-classics.lnk.to/StabatMater2021ID
Tracklist:
Composer: Giovanni Battista Pergolesi
Artists: Angharad Gruffydd Jones & Lawrence Zazzo
Stabat mater in F Minor, P.77:
0:00:00 I. Stabat mater dolorosa
0:03:50 II. Cujus animam gememtem
0:05:48 III. O quam tristis et afflicta
0:08:01 IV. Quae moerabat et dolebat
0:10:05 V. Quis est homo qui no...
published: 23 Mar 2021
-
Stabat Mater (At the cross her stations keeping)
Stabat Mater
published: 15 Mar 2014
-
Stabat Mater Vivaldi
The film covers the final 12 hours of Jesus' life, beginning with the Agony in the Garden and ending with a brief depiction of his resurrection. Flashbacks of Jesus as a child and as a young man with his mother, giving the Sermon on the Mount, teaching the Twelve Apostles, and at the Last Supper are some of the images depicted. The dialogue is entirely in reconstructed Aramaic and Latin with vernacular subtitles.
The film was a major commercial hit, grossing in excess of $600 million during its theatrical release, becoming the highest grossing R-rated film of all time.[6] The film has also been highly controversial and received mixed reviews, with some critics claiming that the extreme violence in the movie "obscures its message."[7][8][9][10] Catholic sources have questioned the authent...
published: 10 Feb 2013
-
Stabat Mater (English Version) HD
The "Stabat Mater" is a 13th-century Latin hymn portraying the suffering of Mary as Jesus Christ's mother during His crucifixion. The title comes from its first line, "Stabat Mater dolorosa", which means "the sorrowful mother was standing".
Audio taken from : https://youtu.be/mM3OagoLRFs
"Stabat Mater" - At the Cross Her Station Keeping Video Sung by Donna Cori
published: 15 Mar 2021
-
Stabat Mater: I. Stabat mater dolorosa
Provided to YouTube by Warner Classics International
Stabat Mater: I. Stabat mater dolorosa · Philippe Jaroussky · I Barocchisti · Julia Lezhneva
Pergolesi: Stabat Mater, Laudate pueri & Confitebor
℗ A Warner Classics/Erato release, ℗ 2013 Radiotelevisione svizzera di lingua italiana under exclusive licence to Parlophone Records Limited
Conductor: Diego Fasolis
Ensemble: I Barocchisti
Soprano Vocals: Julia Lezhneva
Counter- Tenor Vocals: Philippe Jaroussky
Composer: Giovanni Battista Pergolesi
Auto-generated by YouTube.
published: 20 Jan 2015
-
Stabat Mater - Stabat Mater dolorosa - G. B. Pergolesi
dalla Frauenkirche di Dresda
Staatskapelle Dresden
Direttore: Bertrand De Billy
Soprano: Anna Netrebko
Mezzosoprano: Marianna Pizzolato
published: 30 Apr 2011
39:22
Pergolesi - Stabat Mater (complete/full) - Nathalie Stutzmann
Giovanni Battista Pergolesi: Stabat Mater / Nathalie Stutzmann, conductor · Philippe Jaroussky, countertenor / Emöke Barath, soprano / Orfeo 55 / Recorded at th...
Giovanni Battista Pergolesi: Stabat Mater / Nathalie Stutzmann, conductor · Philippe Jaroussky, countertenor / Emöke Barath, soprano / Orfeo 55 / Recorded at the Château de Fontainebleau, France, April 2014. Video by Ozango / ARTE France.
Website of Nathalie Stutzmann:
http://www.nathaliestutzmann.com
Facebook page of Nathalie Stutzmann: https://www.facebook.com/Nathalie.Stutzmann
https://wn.com/Pergolesi_Stabat_Mater_(Complete_Full)_Nathalie_Stutzmann
Giovanni Battista Pergolesi: Stabat Mater / Nathalie Stutzmann, conductor · Philippe Jaroussky, countertenor / Emöke Barath, soprano / Orfeo 55 / Recorded at the Château de Fontainebleau, France, April 2014. Video by Ozango / ARTE France.
Website of Nathalie Stutzmann:
http://www.nathaliestutzmann.com
Facebook page of Nathalie Stutzmann: https://www.facebook.com/Nathalie.Stutzmann
- published: 07 Jun 2014
- views: 5592870
42:50
Giovanni Battista Pergolesi - Stabat Mater [1985] (Full Album)
Giovanni Battista Pergolesi/London Symphony Orchestra, Claudio Abbado – Stabat Mater
Tracklist:
1. Duetto. Grave: Stabat Mater Dolorosa - 4:40
2. Aria (Sopr...
Giovanni Battista Pergolesi/London Symphony Orchestra, Claudio Abbado – Stabat Mater
Tracklist:
1. Duetto. Grave: Stabat Mater Dolorosa - 4:40
2. Aria (Soprano). Andante Amoroso: Cuius Animam Gementem - 3:08
3. Duetto. Larghetto: O Quam Tristis Et Afflicta - 2:35
4. Aria (Contralto). Allegro: Quae Moerebat Et Dolebat - 2:49
5. Duetto. Largo - Allegro: Quis Est Homo, Qui Non Fleret - 3:01
6. Aria (Soprano). A Tempo Giusto: Vidit Suum Dulcem Natum - 3:33
7. Aria (Contralto). Andantino: Eia, Mater, Fons Amoris - 2:54
8. Duetto. Allegro: Fac, Ut Ardeat Cor Meum - 2:41
9. Duetto. A Tempo Giusto: Sancta Mater, Istud Agas - 5:59
10. Aria (Contralto). Largo: Fac, Ut Portem Christi Mortem - 3:43
11. Duetto. Allegro (Ma Non Troppo): Inflammatus Et Accensus - 2:51
12. Duetto. Largo Assai - Presto Assai: Quando Corpus Morietur - 4:57
Credits
Cello: Jennifer Brown, Ray Adams, Rod McGrath
Composed By: Pergolesi
Conductor: Claudio Abbado
Contralto Vocals: Lucia Valentini Terrani
Double Bass [Contrabbasso]: Bruce Mollison, Paul Marrion
Edited By: Reinhild Schmidt
Engineer: Klaus Hiemann
Orchestra: London Symphony Orchestra
Organ: Leslie Pearson
Painting [Oil Painting]: Raffaello Santi
Photography By – Clive Barda, Gabriela Brandenstein, Malcolm Crowthers
Photography By [Ektachrome]: Josef S. Martin
Producer, Recorded By: Rainer Brock
Soprano Vocals: Margaret Marshall
Viola: Alexander Taylor, Brian Clark, Patrick Hooley, Peter Norriss
Violin [First]: Ashley Arbuckle, Cyril Reuben, Lennox Mackenzie, Michael Davies, Michael Humphrey, Nigel Broadbent, Robert Clark, Robert Retallick
Violin [Second]: Ian McDonough, Neil Watson, Samuel Artis, Stanley Castle, Warwick Hill, William Brown
Companies, etc.
Phonographic Copyright (p) Polydor International GmbH
Printed By Neef
Label: Deutsche Grammophon – 415 103-2
Format: CD, Album
Country: Europe
Released: 1985
Genre: Classical
Style: Baroque
DISCLAIMER: I do not make any profit from this video. No copyright infringement intended. All rights belong to the respective artists and the record companies. It is uploaded for educational and promotional purposes only. I do not own, nor claim to own anything contained in this video.
https://wn.com/Giovanni_Battista_Pergolesi_Stabat_Mater_1985_(Full_Album)
Giovanni Battista Pergolesi/London Symphony Orchestra, Claudio Abbado – Stabat Mater
Tracklist:
1. Duetto. Grave: Stabat Mater Dolorosa - 4:40
2. Aria (Soprano). Andante Amoroso: Cuius Animam Gementem - 3:08
3. Duetto. Larghetto: O Quam Tristis Et Afflicta - 2:35
4. Aria (Contralto). Allegro: Quae Moerebat Et Dolebat - 2:49
5. Duetto. Largo - Allegro: Quis Est Homo, Qui Non Fleret - 3:01
6. Aria (Soprano). A Tempo Giusto: Vidit Suum Dulcem Natum - 3:33
7. Aria (Contralto). Andantino: Eia, Mater, Fons Amoris - 2:54
8. Duetto. Allegro: Fac, Ut Ardeat Cor Meum - 2:41
9. Duetto. A Tempo Giusto: Sancta Mater, Istud Agas - 5:59
10. Aria (Contralto). Largo: Fac, Ut Portem Christi Mortem - 3:43
11. Duetto. Allegro (Ma Non Troppo): Inflammatus Et Accensus - 2:51
12. Duetto. Largo Assai - Presto Assai: Quando Corpus Morietur - 4:57
Credits
Cello: Jennifer Brown, Ray Adams, Rod McGrath
Composed By: Pergolesi
Conductor: Claudio Abbado
Contralto Vocals: Lucia Valentini Terrani
Double Bass [Contrabbasso]: Bruce Mollison, Paul Marrion
Edited By: Reinhild Schmidt
Engineer: Klaus Hiemann
Orchestra: London Symphony Orchestra
Organ: Leslie Pearson
Painting [Oil Painting]: Raffaello Santi
Photography By – Clive Barda, Gabriela Brandenstein, Malcolm Crowthers
Photography By [Ektachrome]: Josef S. Martin
Producer, Recorded By: Rainer Brock
Soprano Vocals: Margaret Marshall
Viola: Alexander Taylor, Brian Clark, Patrick Hooley, Peter Norriss
Violin [First]: Ashley Arbuckle, Cyril Reuben, Lennox Mackenzie, Michael Davies, Michael Humphrey, Nigel Broadbent, Robert Clark, Robert Retallick
Violin [Second]: Ian McDonough, Neil Watson, Samuel Artis, Stanley Castle, Warwick Hill, William Brown
Companies, etc.
Phonographic Copyright (p) Polydor International GmbH
Printed By Neef
Label: Deutsche Grammophon – 415 103-2
Format: CD, Album
Country: Europe
Released: 1985
Genre: Classical
Style: Baroque
DISCLAIMER: I do not make any profit from this video. No copyright infringement intended. All rights belong to the respective artists and the record companies. It is uploaded for educational and promotional purposes only. I do not own, nor claim to own anything contained in this video.
- published: 10 Apr 2018
- views: 876930
1:04:09
Stabat mater de Gioachino Rossini Direction Antonio Pappano
Ce Stabat Mater de Gioacchino Rossini (1792-1868) a été capté au Festival de Salzbourg. L'œuvre réunit quatre solistes, un chœur et un orchestre. Les solistes ...
Ce Stabat Mater de Gioacchino Rossini (1792-1868) a été capté au Festival de Salzbourg. L'œuvre réunit quatre solistes, un chœur et un orchestre. Les solistes sont Anna Netrebko (soprano), Marianna Pizzolato (mezzo-soprano), Matthew Polenzani (ténor) et Ildebrando D'Arcangelo (basse). Le Chœur et l'Orchestre de l'Académie nationale Sainte-Cécile sont dirigés par Antonio Pappano. « La voix de Netrebko fusionne dans un excellent quatuor » (Salzburger Nachrichten). Antonio Pappano rend justice à l'œuvre de Rossini, un ouvrage dramatique, chargé de solos et d'ensemble vocaux.
https://wn.com/Stabat_Mater_De_Gioachino_Rossini_Direction_Antonio_Pappano
Ce Stabat Mater de Gioacchino Rossini (1792-1868) a été capté au Festival de Salzbourg. L'œuvre réunit quatre solistes, un chœur et un orchestre. Les solistes sont Anna Netrebko (soprano), Marianna Pizzolato (mezzo-soprano), Matthew Polenzani (ténor) et Ildebrando D'Arcangelo (basse). Le Chœur et l'Orchestre de l'Académie nationale Sainte-Cécile sont dirigés par Antonio Pappano. « La voix de Netrebko fusionne dans un excellent quatuor » (Salzburger Nachrichten). Antonio Pappano rend justice à l'œuvre de Rossini, un ouvrage dramatique, chargé de solos et d'ensemble vocaux.
- published: 25 Apr 2017
- views: 202268
3:12
Stabat Mater - Windborne - Mont-Saint-Michel
TRACK NOW AVAILABLE FOR STREAMING EVERYWHERE!
Spotify: https://open.spotify.com/album/4brJG0RqXHS2A4138ySaLN
Bandcamp: https://windborne.bandcamp.com/track/stab...
TRACK NOW AVAILABLE FOR STREAMING EVERYWHERE!
Spotify: https://open.spotify.com/album/4brJG0RqXHS2A4138ySaLN
Bandcamp: https://windborne.bandcamp.com/track/stabat-mater-live-at-mont-saint-michel
and everywhere you stream music
Windborne sings a powerful traditional setting of the Stabat Mater from the village of Nebbiu in Corsica. The video was taken on an iPhone with no effects in the incredible refectory of Mont-Saint-Michel in France (the refectory is the place where people used to eat). The sound is simply incredible!
Filmed by Tasha Carter-Gordon
--
http://Patreon.com/Windborne
Instagram, TikTok, & Spotify: @WindborneSingers • http://Facebook.com/WindborneSingers • http://WindborneSingers.com
[email protected]
https://wn.com/Stabat_Mater_Windborne_Mont_Saint_Michel
TRACK NOW AVAILABLE FOR STREAMING EVERYWHERE!
Spotify: https://open.spotify.com/album/4brJG0RqXHS2A4138ySaLN
Bandcamp: https://windborne.bandcamp.com/track/stabat-mater-live-at-mont-saint-michel
and everywhere you stream music
Windborne sings a powerful traditional setting of the Stabat Mater from the village of Nebbiu in Corsica. The video was taken on an iPhone with no effects in the incredible refectory of Mont-Saint-Michel in France (the refectory is the place where people used to eat). The sound is simply incredible!
Filmed by Tasha Carter-Gordon
--
http://Patreon.com/Windborne
Instagram, TikTok, & Spotify: @WindborneSingers • http://Facebook.com/WindborneSingers • http://WindborneSingers.com
[email protected]
- published: 22 Mar 2020
- views: 305744
2:51:21
Stabat Mater
Stabat Mater
Composers: Pergolesi, Palestrina, Vivaldi, Boccherini, Bononcini, Pärt
Artists:
Angharad Gruffydd Jones & Lawrence Zazzo,
Choir of Clare College ...
Stabat Mater
Composers: Pergolesi, Palestrina, Vivaldi, Boccherini, Bononcini, Pärt
Artists:
Angharad Gruffydd Jones & Lawrence Zazzo,
Choir of Clare College Cambridge & Timothy Brown,
Holland Boys Choir, Netherlands Bach Collegium, Pieter Jan Leusink & Sytse Buwalda,
Camerata Ligure, Alessandro Stradella Consort & Estevan Velardi,
Le Nuove Musiche, Krijn Koetsveld, Wendy Roobol, Hugo Naessens & Falco van Loon
Stream this album here: https://brilliant-classics.lnk.to/StabatMater2021ID
Tracklist:
Composer: Giovanni Battista Pergolesi
Artists: Angharad Gruffydd Jones & Lawrence Zazzo
Stabat mater in F Minor, P.77:
0:00:00 I. Stabat mater dolorosa
0:03:50 II. Cujus animam gememtem
0:05:48 III. O quam tristis et afflicta
0:08:01 IV. Quae moerabat et dolebat
0:10:05 V. Quis est homo qui non fleret
0:12:47 VI. Vidit suum dulcem natum
0:15:50 VII. Eja Mater, fons amoris
0:18:20 VIII. Fac, ut ardeat cor meum
0:20:32 IX. Sancta mater, istud agas
0:25:55 Fac, ut portem Christi mortem
0:29:40 XI. Inflammatus et accensus
0:31:39 XII. Quando corpus morietur
Composer: Giovanni Pierluigi da Palestrina
Artists: Choir of Clare College Cambridge & Timothy Brown
0:35:31 Stabat mater
Composer: Antonio Vivaldi
Artists: Holland Boys Choir, Netherlands Bach Collegium, Pieter Jan Leusink & Sytse Buwalda
Stabat mater, RV 621:
0:46:59 I. Stabat mater
0:49:55 II. Cujus animam
0:51:38 III. O quam tristis
0:53:37 IV. Quis est homo
0:56:33 V. Quis non posset
0:58:13 VI. Pro peccatis
1:00:12 VII. Eja mater
1:03:00 VIII. Fac, ut ardeat
1:04:46 IX. Amen
Composer: Antonio Maria Bononcini
Artists: Camerata Ligure, Alessandro Stradella Consort & Estevan Velardi
Stabat mater in C Minor:
1:05:45 I. Stabat mater. Largo chorus
1:08:40 II. O quam tristis. Andante soprano
1:10:48 III. Quis est homo. Andante soprano, alto
1:13:55 IV. Pro peccatis. Adagio alto
1:17:22 V. Eja Mater. Cantabile alto
1:22:16 VI. Sancta mater. Tempo giusto chorus
1:24:19 VII. Fac me vere tecum stare. Sostenuto alto
1:29:36 VIII. Juxta crucem. Andante bass
1:32:05 IX. Virgo virginum. Tempo giusto chorus
1:35:09 X. Fac, ut portem. Vivace tenor
1:36:53 XI. Fac me plagis vulnerary. Adagio alto, tenor, chorus
1:38:11 XII. Inflammatus alto, tenor, chorus
1:39:58 XIII. Fac me cruce custodiri. Tempo giusto bass
1:41:49 XIV. Fac me cruce custodiri. Affettuoso soprano
1:43:23 XV. Quando corpus. Largo e pianissimo chorus
1:43:56 XVI. Paradisi Gloria. Adagio soprano, alto, tenor, bass, chorus
Composer: Luigi Boccherini
Artists: Ensemble Symposium & Francesca Boncompagni
Stabat mater G. 532:
1:46:06 I. Stabat mater
1:51:06 II. Cujus animam
1:53:24 III. Quae moerebat
1:56:06 IV. Quis est homo
1:57:24 V. Pro peccatis
2:00:24 VI. Eja mater
2:04:13 VII. Tui nati vulnerati
2:10:59 VIII. Virgo virginum
2:15:18 IX. Fac, ut portem
2:20:07 X. Fac me plagis
2:22:21 XI. Quando corpus
Composer: Arvo Pärt
Artists: Le Nuove Musiche, Krijn Koetsveld, Wendy Roobol, Hugo Naessens & Falco van Loon
2:26:05 Stabat mater
Social media:
Brilliant Classics Instagram: https://brilliant-classics.lnk.to/InstagramID
Brilliant Classics Facebook: https://brilliant-classics.lnk.to/FacebookID
Spotify Playlists:
Brilliant Classics Spotify: https://brilliant-classics.lnk.to/SpotifyID
New Classical Releases: https://brilliant-classics.lnk.to/NewReleasesID
The Best of Liszt: https://brilliant-classics.lnk.to/PlaylisztID
The Best of Bach: https://brilliant-classics.lnk.to/BestOfBachPlaylistID
Most Popular Piano Music: https://brilliant-classics.lnk.to/MostPopularPianoID
Beautiful Classical Music: https://brilliant-classics.lnk.to/BeautifulClassicalMelodiesID
Classical Music For Dinnertime: https://brilliant-classics.lnk.to/ClassicalMusicforDinnertimeID
Thank you for watching this video by Brilliant Classics, we hope you enjoyed it! Don’t forget to share it and subscribe to our YouTube channel: https://brilliant-classics.lnk.to/YouTubeID
And visit our channel for the best classical music from the greatest composers like: Bach, Satie, Mozart, Tchaikovsky, Beethoven, Chopin, Haydn, Ravel, Debussy, Verdi, Vivaldi, Handel, Brahms, Liszt, Schubert, Mendelssohn, Rachmaninoff, Wagner, Strauss, Handel, Dvorak and many more! We upload complete albums, music for relaxing, working, studying, meditating, concentrating, instrumental music, opera, violin, classical piano music, sonatas and more!
#StabatMater #BrilliantClassics #music
https://wn.com/Stabat_Mater
Stabat Mater
Composers: Pergolesi, Palestrina, Vivaldi, Boccherini, Bononcini, Pärt
Artists:
Angharad Gruffydd Jones & Lawrence Zazzo,
Choir of Clare College Cambridge & Timothy Brown,
Holland Boys Choir, Netherlands Bach Collegium, Pieter Jan Leusink & Sytse Buwalda,
Camerata Ligure, Alessandro Stradella Consort & Estevan Velardi,
Le Nuove Musiche, Krijn Koetsveld, Wendy Roobol, Hugo Naessens & Falco van Loon
Stream this album here: https://brilliant-classics.lnk.to/StabatMater2021ID
Tracklist:
Composer: Giovanni Battista Pergolesi
Artists: Angharad Gruffydd Jones & Lawrence Zazzo
Stabat mater in F Minor, P.77:
0:00:00 I. Stabat mater dolorosa
0:03:50 II. Cujus animam gememtem
0:05:48 III. O quam tristis et afflicta
0:08:01 IV. Quae moerabat et dolebat
0:10:05 V. Quis est homo qui non fleret
0:12:47 VI. Vidit suum dulcem natum
0:15:50 VII. Eja Mater, fons amoris
0:18:20 VIII. Fac, ut ardeat cor meum
0:20:32 IX. Sancta mater, istud agas
0:25:55 Fac, ut portem Christi mortem
0:29:40 XI. Inflammatus et accensus
0:31:39 XII. Quando corpus morietur
Composer: Giovanni Pierluigi da Palestrina
Artists: Choir of Clare College Cambridge & Timothy Brown
0:35:31 Stabat mater
Composer: Antonio Vivaldi
Artists: Holland Boys Choir, Netherlands Bach Collegium, Pieter Jan Leusink & Sytse Buwalda
Stabat mater, RV 621:
0:46:59 I. Stabat mater
0:49:55 II. Cujus animam
0:51:38 III. O quam tristis
0:53:37 IV. Quis est homo
0:56:33 V. Quis non posset
0:58:13 VI. Pro peccatis
1:00:12 VII. Eja mater
1:03:00 VIII. Fac, ut ardeat
1:04:46 IX. Amen
Composer: Antonio Maria Bononcini
Artists: Camerata Ligure, Alessandro Stradella Consort & Estevan Velardi
Stabat mater in C Minor:
1:05:45 I. Stabat mater. Largo chorus
1:08:40 II. O quam tristis. Andante soprano
1:10:48 III. Quis est homo. Andante soprano, alto
1:13:55 IV. Pro peccatis. Adagio alto
1:17:22 V. Eja Mater. Cantabile alto
1:22:16 VI. Sancta mater. Tempo giusto chorus
1:24:19 VII. Fac me vere tecum stare. Sostenuto alto
1:29:36 VIII. Juxta crucem. Andante bass
1:32:05 IX. Virgo virginum. Tempo giusto chorus
1:35:09 X. Fac, ut portem. Vivace tenor
1:36:53 XI. Fac me plagis vulnerary. Adagio alto, tenor, chorus
1:38:11 XII. Inflammatus alto, tenor, chorus
1:39:58 XIII. Fac me cruce custodiri. Tempo giusto bass
1:41:49 XIV. Fac me cruce custodiri. Affettuoso soprano
1:43:23 XV. Quando corpus. Largo e pianissimo chorus
1:43:56 XVI. Paradisi Gloria. Adagio soprano, alto, tenor, bass, chorus
Composer: Luigi Boccherini
Artists: Ensemble Symposium & Francesca Boncompagni
Stabat mater G. 532:
1:46:06 I. Stabat mater
1:51:06 II. Cujus animam
1:53:24 III. Quae moerebat
1:56:06 IV. Quis est homo
1:57:24 V. Pro peccatis
2:00:24 VI. Eja mater
2:04:13 VII. Tui nati vulnerati
2:10:59 VIII. Virgo virginum
2:15:18 IX. Fac, ut portem
2:20:07 X. Fac me plagis
2:22:21 XI. Quando corpus
Composer: Arvo Pärt
Artists: Le Nuove Musiche, Krijn Koetsveld, Wendy Roobol, Hugo Naessens & Falco van Loon
2:26:05 Stabat mater
Social media:
Brilliant Classics Instagram: https://brilliant-classics.lnk.to/InstagramID
Brilliant Classics Facebook: https://brilliant-classics.lnk.to/FacebookID
Spotify Playlists:
Brilliant Classics Spotify: https://brilliant-classics.lnk.to/SpotifyID
New Classical Releases: https://brilliant-classics.lnk.to/NewReleasesID
The Best of Liszt: https://brilliant-classics.lnk.to/PlaylisztID
The Best of Bach: https://brilliant-classics.lnk.to/BestOfBachPlaylistID
Most Popular Piano Music: https://brilliant-classics.lnk.to/MostPopularPianoID
Beautiful Classical Music: https://brilliant-classics.lnk.to/BeautifulClassicalMelodiesID
Classical Music For Dinnertime: https://brilliant-classics.lnk.to/ClassicalMusicforDinnertimeID
Thank you for watching this video by Brilliant Classics, we hope you enjoyed it! Don’t forget to share it and subscribe to our YouTube channel: https://brilliant-classics.lnk.to/YouTubeID
And visit our channel for the best classical music from the greatest composers like: Bach, Satie, Mozart, Tchaikovsky, Beethoven, Chopin, Haydn, Ravel, Debussy, Verdi, Vivaldi, Handel, Brahms, Liszt, Schubert, Mendelssohn, Rachmaninoff, Wagner, Strauss, Handel, Dvorak and many more! We upload complete albums, music for relaxing, working, studying, meditating, concentrating, instrumental music, opera, violin, classical piano music, sonatas and more!
#StabatMater #BrilliantClassics #music
- published: 23 Mar 2021
- views: 104447
3:02
Stabat Mater Vivaldi
The film covers the final 12 hours of Jesus' life, beginning with the Agony in the Garden and ending with a brief depiction of his resurrection. Flashbacks of J...
The film covers the final 12 hours of Jesus' life, beginning with the Agony in the Garden and ending with a brief depiction of his resurrection. Flashbacks of Jesus as a child and as a young man with his mother, giving the Sermon on the Mount, teaching the Twelve Apostles, and at the Last Supper are some of the images depicted. The dialogue is entirely in reconstructed Aramaic and Latin with vernacular subtitles.
The film was a major commercial hit, grossing in excess of $600 million during its theatrical release, becoming the highest grossing R-rated film of all time.[6] The film has also been highly controversial and received mixed reviews, with some critics claiming that the extreme violence in the movie "obscures its message."[7][8][9][10] Catholic sources have questioned the authenticity of the non-biblical material the film drew on.[
https://wn.com/Stabat_Mater_Vivaldi
The film covers the final 12 hours of Jesus' life, beginning with the Agony in the Garden and ending with a brief depiction of his resurrection. Flashbacks of Jesus as a child and as a young man with his mother, giving the Sermon on the Mount, teaching the Twelve Apostles, and at the Last Supper are some of the images depicted. The dialogue is entirely in reconstructed Aramaic and Latin with vernacular subtitles.
The film was a major commercial hit, grossing in excess of $600 million during its theatrical release, becoming the highest grossing R-rated film of all time.[6] The film has also been highly controversial and received mixed reviews, with some critics claiming that the extreme violence in the movie "obscures its message."[7][8][9][10] Catholic sources have questioned the authenticity of the non-biblical material the film drew on.[
- published: 10 Feb 2013
- views: 79894
4:43
Stabat Mater (English Version) HD
The "Stabat Mater" is a 13th-century Latin hymn portraying the suffering of Mary as Jesus Christ's mother during His crucifixion. The title comes from its first...
The "Stabat Mater" is a 13th-century Latin hymn portraying the suffering of Mary as Jesus Christ's mother during His crucifixion. The title comes from its first line, "Stabat Mater dolorosa", which means "the sorrowful mother was standing".
Audio taken from : https://youtu.be/mM3OagoLRFs
"Stabat Mater" - At the Cross Her Station Keeping Video Sung by Donna Cori
https://wn.com/Stabat_Mater_(English_Version)_Hd
The "Stabat Mater" is a 13th-century Latin hymn portraying the suffering of Mary as Jesus Christ's mother during His crucifixion. The title comes from its first line, "Stabat Mater dolorosa", which means "the sorrowful mother was standing".
Audio taken from : https://youtu.be/mM3OagoLRFs
"Stabat Mater" - At the Cross Her Station Keeping Video Sung by Donna Cori
- published: 15 Mar 2021
- views: 61143
4:30
Stabat Mater: I. Stabat mater dolorosa
Provided to YouTube by Warner Classics International
Stabat Mater: I. Stabat mater dolorosa · Philippe Jaroussky · I Barocchisti · Julia Lezhneva
Pergolesi: S...
Provided to YouTube by Warner Classics International
Stabat Mater: I. Stabat mater dolorosa · Philippe Jaroussky · I Barocchisti · Julia Lezhneva
Pergolesi: Stabat Mater, Laudate pueri & Confitebor
℗ A Warner Classics/Erato release, ℗ 2013 Radiotelevisione svizzera di lingua italiana under exclusive licence to Parlophone Records Limited
Conductor: Diego Fasolis
Ensemble: I Barocchisti
Soprano Vocals: Julia Lezhneva
Counter- Tenor Vocals: Philippe Jaroussky
Composer: Giovanni Battista Pergolesi
Auto-generated by YouTube.
https://wn.com/Stabat_Mater_I._Stabat_Mater_Dolorosa
Provided to YouTube by Warner Classics International
Stabat Mater: I. Stabat mater dolorosa · Philippe Jaroussky · I Barocchisti · Julia Lezhneva
Pergolesi: Stabat Mater, Laudate pueri & Confitebor
℗ A Warner Classics/Erato release, ℗ 2013 Radiotelevisione svizzera di lingua italiana under exclusive licence to Parlophone Records Limited
Conductor: Diego Fasolis
Ensemble: I Barocchisti
Soprano Vocals: Julia Lezhneva
Counter- Tenor Vocals: Philippe Jaroussky
Composer: Giovanni Battista Pergolesi
Auto-generated by YouTube.
- published: 20 Jan 2015
- views: 727096
3:53
Stabat Mater - Stabat Mater dolorosa - G. B. Pergolesi
dalla Frauenkirche di Dresda
Staatskapelle Dresden
Direttore: Bertrand De Billy
Soprano: Anna Netrebko
Mezzosoprano: Marianna Pizzolato
dalla Frauenkirche di Dresda
Staatskapelle Dresden
Direttore: Bertrand De Billy
Soprano: Anna Netrebko
Mezzosoprano: Marianna Pizzolato
https://wn.com/Stabat_Mater_Stabat_Mater_Dolorosa_G._B._Pergolesi
dalla Frauenkirche di Dresda
Staatskapelle Dresden
Direttore: Bertrand De Billy
Soprano: Anna Netrebko
Mezzosoprano: Marianna Pizzolato
- published: 30 Apr 2011
- views: 796446