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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
-
Bomsori Kim plays Wieniawski Violin Concerto no. 2 in D minor, Op. 22 | STEREO
15th International Henryk Wieniawski Violin Competition
Poznań, 8-23 October 2016
Stage 4 (21 October 2016)
Bomsori Kim (Korea)
Violin: Joannes Baptista Guadagnini instrument (Turin, 1774) on loan from Kumho Asiana Instrument Bank
T. Szeligowski Poznań Philharmonic Orchestra
Marek Pijarowski – conductor
Programme:
H. Wieniawski: Violin Concerto no. 2 in D minor, Op. 22
Henryk Wieniawski Musical Society
www.wieniawski.com
Towarzystwo Muzyczne im. Henryka Wieniawskiego www.wieniawski.pl
published: 22 Oct 2016
-
Hilary Hahn plays Bach Violin Concerto No.2 in E Major BWV 1042- Deutsche Kammerphilharmonie Bremen
Johann Sebastian Bach
Concerto for Violin No.2 in E Major (BWV 1042)
Deutsche Kammerphilharmonie Bremen
Conductor: Omer Meir Wellber
00:00 Allegro
08:05 Adagio
14:50 Allegro assai
#Hahn #Bach #Violin
published: 22 Apr 2020
-
MOZART, Violin Concerto No.2 - Julia Fischer
Hello! Sharing the second of five wonderful violin concertos composed by Mozart. Fascinating to travel through each of them! ❤️
Mozart, Violin Concerto, No. 2 (K211).
Movements:
1 | 0:20 Allegro moderato
2 | 8:39 Andante
3 | 15:38 Rondeau: Allegro
🎼🎻Musicians:
Julia Fischer (violin/director)
London Philharmonic Orchestra
February 2022 at the Southbank Centre’s Royal Festival Hall.
#mozart #classicalmusic #juliafischer #violinconcerto
#musictosleep #musictoconcentrate #musictostudy
I have dedicated my time to building this channel and this is possible thanks to your support! Thanks for subscribing, liking, commenting! Belive, your presence here is my biggest motivation!❤️
You can help by making a donation at the link below 👇
https://www.paypal.com/donate/?hosted_button_id=PL...
published: 03 Sep 2022
-
Chloe Chua plays Mozart's Violin Concerto No. 2
Singapore’s winsome darling of the violin, Chloe Chua, stars in Mozart’s lyrical Violin Concerto No.2, accompanied by the Singapore Symphony Orchestra with Chief Conductor Hans Graf.
Chloe Chua, violin @ChloeChuaviolinist
Hans Graf, Chief Conductor
Singapore Symphony Orchestra
Recorded at the Esplanade Concert Hall, Singapore, on 17 Oct, 2020
Premiered on SISTIC Live on 4 Dec 2020.
YouTube Premiere, 4 Apr 2021
(c) Singapore Symphony Orchestra. The copying and republishing of any portion of this video is strictly not allowed without authorization.
WOLFGANG AMADEUS MOZART (1756 - 1791)
Violin Concerto No. 2 in D major, K.211 (1775)
0:00 I. Allegro moderato
10:20 II. Andante
18:42 III. Rondeau. Allegro
Mozart’s violin concerti present a strange musicological problem: they were composed ...
published: 04 Apr 2021
-
Seitz violin Concerto No.2 3rd mov. violin solo_Suzuki violin Vol.4
Seitz violin Concerto No.2 3rd mov. violin solo_Suzuki violin Vol.4
published: 11 Dec 2015
-
Paganini Violin Concerto No.2 in B minor, opus 7 "La Campanella" | Svetlin Roussev
Niccolò Paganini
Violin Concerto in B minor opus 7
0:00 intro
2:21 I. Allegro maestoso
16:51 II. Adagio
22:45 III. Rondo
Svetlin Roussev, violin
Nayden Todorov & Sofia Philharmonic Orchestra
Producer Sofia Philharmonic / Director Monika Yakimova
Performance of November 2020
#Paganini #ViolinConcerto #SvetlinRoussev
published: 29 Apr 2021
-
Béla Bartók - Violin Concerto No. 2 (1938)
Béla Viktor János Bartók (25 March 1881 – 26 September 1945) was a Hungarian composer, pianist, and ethnomusicologist. He is considered one of the most important composers of the 20th century; he and Franz Liszt are regarded as Hungary's greatest composers (Gillies 2001). Through his collection and analytical study of folk music, he was one of the founders of comparative musicology, which later became ethnomusicology.
Please support my channel:
https://ko-fi.com/bartjebartmans
Violin Concerto No. 2 (1937-38)
Dedicated to Zoltán Székely
1. Allegro non troppo
2. Andante tranquillo
3. Allegro molto
Isaac Stern, violin and the New York Philharmonic conducted by Leonard Bernstein
Béla Bartók's Violin Concerto No. 2, BB 117 was written in 1937–38. During the composer's life, it was known si...
published: 07 Apr 2019
-
Wieniawski - Violin Concerto No.2 in D minor, Op.22
Composer: Henryk Wieniawski (10 July 1835 – 31 March 1880)
Work Title: Violin Concerto No.2 in D minor, Op.22
Instrumentation: solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones (alto, tenor and bass), timpani, and strings.
Performers: Jascha Heifetz (violin), Sir John Barbirolli (conductor), London Philharmonic Orchestra (orchestra)
1990 studio recording:
https://www.youtube.com/playlist?list=OLAK5uy_np-JRMRs-xQeqm7ktcty_0DgkvCFm4rew
0:00 - I. Allegro moderato
11:12 - II. Romance
15:53 - III. Allegro con fuoco
16:26 - IV. Allegro moderato
Violin Concerto No.2 in D minor, Op.22, by the Polish violin virtuoso, Henryk Wieniawski, may have been started in 1856, but the first performance did not take place until November 27, 1862, when he played it in ...
published: 16 Mar 2018
-
Handel - Concerto Grosso Op. 6, No. 11 - Andante Larghetto
Edmonds Woodway Symphony Orchestra plays Andante Larghetto from Concerto Grosso Op. 6, No. 11 at the Winter Benefit Concert
published: 08 Dec 2024
-
Violin Concerto No.2 in B minor, ('La campanella') Op.7-Rondo by Paganini
Beautiful violin music by the great romantic violinist virtuoso Paganini (1782-1840).
Performed by
Ilya Kaler, violinist
Polish National Radio Symphony Orchestra conducted by Stephen Gunzenhauser.
published: 25 Dec 2008
25:03
Bomsori Kim plays Wieniawski Violin Concerto no. 2 in D minor, Op. 22 | STEREO
15th International Henryk Wieniawski Violin Competition
Poznań, 8-23 October 2016
Stage 4 (21 October 2016)
Bomsori Kim (Korea)
Violin: Joannes Baptista Guadag...
15th International Henryk Wieniawski Violin Competition
Poznań, 8-23 October 2016
Stage 4 (21 October 2016)
Bomsori Kim (Korea)
Violin: Joannes Baptista Guadagnini instrument (Turin, 1774) on loan from Kumho Asiana Instrument Bank
T. Szeligowski Poznań Philharmonic Orchestra
Marek Pijarowski – conductor
Programme:
H. Wieniawski: Violin Concerto no. 2 in D minor, Op. 22
Henryk Wieniawski Musical Society
www.wieniawski.com
Towarzystwo Muzyczne im. Henryka Wieniawskiego www.wieniawski.pl
https://wn.com/Bomsori_Kim_Plays_Wieniawski_Violin_Concerto_No._2_In_D_Minor,_Op._22_|_Stereo
15th International Henryk Wieniawski Violin Competition
Poznań, 8-23 October 2016
Stage 4 (21 October 2016)
Bomsori Kim (Korea)
Violin: Joannes Baptista Guadagnini instrument (Turin, 1774) on loan from Kumho Asiana Instrument Bank
T. Szeligowski Poznań Philharmonic Orchestra
Marek Pijarowski – conductor
Programme:
H. Wieniawski: Violin Concerto no. 2 in D minor, Op. 22
Henryk Wieniawski Musical Society
www.wieniawski.com
Towarzystwo Muzyczne im. Henryka Wieniawskiego www.wieniawski.pl
- published: 22 Oct 2016
- views: 2141144
18:00
Hilary Hahn plays Bach Violin Concerto No.2 in E Major BWV 1042- Deutsche Kammerphilharmonie Bremen
Johann Sebastian Bach
Concerto for Violin No.2 in E Major (BWV 1042)
Deutsche Kammerphilharmonie Bremen
Conductor: Omer Meir Wellber
00:00 Allegro
08:05 Adagio...
Johann Sebastian Bach
Concerto for Violin No.2 in E Major (BWV 1042)
Deutsche Kammerphilharmonie Bremen
Conductor: Omer Meir Wellber
00:00 Allegro
08:05 Adagio
14:50 Allegro assai
#Hahn #Bach #Violin
https://wn.com/Hilary_Hahn_Plays_Bach_Violin_Concerto_No.2_In_E_Major_Bwv_1042_Deutsche_Kammerphilharmonie_Bremen
Johann Sebastian Bach
Concerto for Violin No.2 in E Major (BWV 1042)
Deutsche Kammerphilharmonie Bremen
Conductor: Omer Meir Wellber
00:00 Allegro
08:05 Adagio
14:50 Allegro assai
#Hahn #Bach #Violin
- published: 22 Apr 2020
- views: 1782852
20:10
MOZART, Violin Concerto No.2 - Julia Fischer
Hello! Sharing the second of five wonderful violin concertos composed by Mozart. Fascinating to travel through each of them! ❤️
Mozart, Violin Concerto, No. 2...
Hello! Sharing the second of five wonderful violin concertos composed by Mozart. Fascinating to travel through each of them! ❤️
Mozart, Violin Concerto, No. 2 (K211).
Movements:
1 | 0:20 Allegro moderato
2 | 8:39 Andante
3 | 15:38 Rondeau: Allegro
🎼🎻Musicians:
Julia Fischer (violin/director)
London Philharmonic Orchestra
February 2022 at the Southbank Centre’s Royal Festival Hall.
#mozart #classicalmusic #juliafischer #violinconcerto
#musictosleep #musictoconcentrate #musictostudy
I have dedicated my time to building this channel and this is possible thanks to your support! Thanks for subscribing, liking, commenting! Belive, your presence here is my biggest motivation!❤️
You can help by making a donation at the link below 👇
https://www.paypal.com/donate/?hosted_button_id=PL9JLKZ6UQYP8
https://wn.com/Mozart,_Violin_Concerto_No.2_Julia_Fischer
Hello! Sharing the second of five wonderful violin concertos composed by Mozart. Fascinating to travel through each of them! ❤️
Mozart, Violin Concerto, No. 2 (K211).
Movements:
1 | 0:20 Allegro moderato
2 | 8:39 Andante
3 | 15:38 Rondeau: Allegro
🎼🎻Musicians:
Julia Fischer (violin/director)
London Philharmonic Orchestra
February 2022 at the Southbank Centre’s Royal Festival Hall.
#mozart #classicalmusic #juliafischer #violinconcerto
#musictosleep #musictoconcentrate #musictostudy
I have dedicated my time to building this channel and this is possible thanks to your support! Thanks for subscribing, liking, commenting! Belive, your presence here is my biggest motivation!❤️
You can help by making a donation at the link below 👇
https://www.paypal.com/donate/?hosted_button_id=PL9JLKZ6UQYP8
- published: 03 Sep 2022
- views: 82221
23:33
Chloe Chua plays Mozart's Violin Concerto No. 2
Singapore’s winsome darling of the violin, Chloe Chua, stars in Mozart’s lyrical Violin Concerto No.2, accompanied by the Singapore Symphony Orchestra with Chie...
Singapore’s winsome darling of the violin, Chloe Chua, stars in Mozart’s lyrical Violin Concerto No.2, accompanied by the Singapore Symphony Orchestra with Chief Conductor Hans Graf.
Chloe Chua, violin @ChloeChuaviolinist
Hans Graf, Chief Conductor
Singapore Symphony Orchestra
Recorded at the Esplanade Concert Hall, Singapore, on 17 Oct, 2020
Premiered on SISTIC Live on 4 Dec 2020.
YouTube Premiere, 4 Apr 2021
(c) Singapore Symphony Orchestra. The copying and republishing of any portion of this video is strictly not allowed without authorization.
WOLFGANG AMADEUS MOZART (1756 - 1791)
Violin Concerto No. 2 in D major, K.211 (1775)
0:00 I. Allegro moderato
10:20 II. Andante
18:42 III. Rondeau. Allegro
Mozart’s violin concerti present a strange musicological problem: they were composed in a short period of time, but it is not clear what occasion prompted their creation, or who they were written for. A story is sometimes told that Mozart had been so inspired by a meeting with Haydn that he produced these five concerti in the span of half a year, but this sequence of events is more reliably attached to the six string quartets published as Opus 10, nicknamed the “Haydn Quartets”. Those came later, and are actually dedicated to Haydn. To add further to the muddle, the manuscripts of Mozart’s violin concerti had their dates tampered with: the fifth concerto had its 1775 date scratched out and replaced with 1780, and then changed back to 1775; for a long time, three other concerti were confused as Mozart’s, and given various numbers. In any case, these concerti were all composed before his likely first encounter with Haydn, though Mozart would already have been well aware of Haydn’s music long before then.
What is certain about the ones that are definitely Mozart’s (No. 1–5) is that they show him as a confident and youthful composer with a masterful command of string technique. Mozart was a world-class keyboardist and also an accomplished violinist, although he preferred playing the viola. The violin writing in these works is brilliant, always delicately poised against the orchestral forces. The first two show Mozart in ebullient form, and are perhaps the more difficult of the lot, with virtuosic writing involving very high solo lines.
Listen out for operatic elements in this concerto: by this point, Mozart had already written a dozen operas, including the highly accomplished La finta giardiniera, and this can be heard in the way groups of instruments interact. The pair of oboes add weight to orchestral tutti, anchoring the high violin lines. A lively first movement gives way to a wonderfully expansive pastorale, in which the oboes and horns punctuate cadences and act as signal-bearers for the solo violin. The rondo-finale actually opens with the violin solo leading the theme, an especially Mozartean touch, and dances its way to an exuberant end. (Programme notes: Thomas Ang)
CHLOE CHUA (b. 2007)
Young violinist Chloe Chua's meteoric rise on the classical music concert stage culminated in being awarded the joint 1st prize at the 2018 Yehudi Menuhin International Competition for Young Violinists.
The 13-year-old from Singapore had also garnered the top prize at the 24th Andrea Postacchini Violin Competition, and the 3rd prize at the 2017 Zhuhai International Mozart Competition. She has also been awarded prizes at Thailand International Strings Competition (Junior Category Grand Prize), Singapore National Piano and Violin Competition (1st Prize, Junior 2017, 3rd Prize Junior 2015).
She has been enrolled in the Nanyang Academy of Fine Arts School of Young Talents (NAFA) since she was four, and is currently under the tutelage of Yin Ke, leader of their Strings programme.
Her stunning maturity and musicality has captured the hearts of audience around the world, and her performances have taken her to concerts hall across the U.K, Thailand, Italy, Germany, China, Saudi Arabia, USA and Singapore, and in festivals such as the New Virtuosi Queenswood Mastercourse, Atlanta Festival Academy and the Singapore Violin Festival.
More recently, she has performed with the Singapore Symphony Orchestra, China Xiamen Philharmonic Orchestra, AFA festival Orchestra, Salzburg Chamber Soloists, Russian National Youth Orchestra under the baton of Maestro Yuri Bashme , Kammerorchester Basel conducted by Umberto Benedetti Michelangeli and the China Philharmonic Orchestra conducted by Maestro Xia Xiaotang.
She performs on a violin by Peter Guarneri of Venice, 1729, on generous loan from the Rin Collection.
https://wn.com/Chloe_Chua_Plays_Mozart's_Violin_Concerto_No._2
Singapore’s winsome darling of the violin, Chloe Chua, stars in Mozart’s lyrical Violin Concerto No.2, accompanied by the Singapore Symphony Orchestra with Chief Conductor Hans Graf.
Chloe Chua, violin @ChloeChuaviolinist
Hans Graf, Chief Conductor
Singapore Symphony Orchestra
Recorded at the Esplanade Concert Hall, Singapore, on 17 Oct, 2020
Premiered on SISTIC Live on 4 Dec 2020.
YouTube Premiere, 4 Apr 2021
(c) Singapore Symphony Orchestra. The copying and republishing of any portion of this video is strictly not allowed without authorization.
WOLFGANG AMADEUS MOZART (1756 - 1791)
Violin Concerto No. 2 in D major, K.211 (1775)
0:00 I. Allegro moderato
10:20 II. Andante
18:42 III. Rondeau. Allegro
Mozart’s violin concerti present a strange musicological problem: they were composed in a short period of time, but it is not clear what occasion prompted their creation, or who they were written for. A story is sometimes told that Mozart had been so inspired by a meeting with Haydn that he produced these five concerti in the span of half a year, but this sequence of events is more reliably attached to the six string quartets published as Opus 10, nicknamed the “Haydn Quartets”. Those came later, and are actually dedicated to Haydn. To add further to the muddle, the manuscripts of Mozart’s violin concerti had their dates tampered with: the fifth concerto had its 1775 date scratched out and replaced with 1780, and then changed back to 1775; for a long time, three other concerti were confused as Mozart’s, and given various numbers. In any case, these concerti were all composed before his likely first encounter with Haydn, though Mozart would already have been well aware of Haydn’s music long before then.
What is certain about the ones that are definitely Mozart’s (No. 1–5) is that they show him as a confident and youthful composer with a masterful command of string technique. Mozart was a world-class keyboardist and also an accomplished violinist, although he preferred playing the viola. The violin writing in these works is brilliant, always delicately poised against the orchestral forces. The first two show Mozart in ebullient form, and are perhaps the more difficult of the lot, with virtuosic writing involving very high solo lines.
Listen out for operatic elements in this concerto: by this point, Mozart had already written a dozen operas, including the highly accomplished La finta giardiniera, and this can be heard in the way groups of instruments interact. The pair of oboes add weight to orchestral tutti, anchoring the high violin lines. A lively first movement gives way to a wonderfully expansive pastorale, in which the oboes and horns punctuate cadences and act as signal-bearers for the solo violin. The rondo-finale actually opens with the violin solo leading the theme, an especially Mozartean touch, and dances its way to an exuberant end. (Programme notes: Thomas Ang)
CHLOE CHUA (b. 2007)
Young violinist Chloe Chua's meteoric rise on the classical music concert stage culminated in being awarded the joint 1st prize at the 2018 Yehudi Menuhin International Competition for Young Violinists.
The 13-year-old from Singapore had also garnered the top prize at the 24th Andrea Postacchini Violin Competition, and the 3rd prize at the 2017 Zhuhai International Mozart Competition. She has also been awarded prizes at Thailand International Strings Competition (Junior Category Grand Prize), Singapore National Piano and Violin Competition (1st Prize, Junior 2017, 3rd Prize Junior 2015).
She has been enrolled in the Nanyang Academy of Fine Arts School of Young Talents (NAFA) since she was four, and is currently under the tutelage of Yin Ke, leader of their Strings programme.
Her stunning maturity and musicality has captured the hearts of audience around the world, and her performances have taken her to concerts hall across the U.K, Thailand, Italy, Germany, China, Saudi Arabia, USA and Singapore, and in festivals such as the New Virtuosi Queenswood Mastercourse, Atlanta Festival Academy and the Singapore Violin Festival.
More recently, she has performed with the Singapore Symphony Orchestra, China Xiamen Philharmonic Orchestra, AFA festival Orchestra, Salzburg Chamber Soloists, Russian National Youth Orchestra under the baton of Maestro Yuri Bashme , Kammerorchester Basel conducted by Umberto Benedetti Michelangeli and the China Philharmonic Orchestra conducted by Maestro Xia Xiaotang.
She performs on a violin by Peter Guarneri of Venice, 1729, on generous loan from the Rin Collection.
- published: 04 Apr 2021
- views: 933695
32:57
Paganini Violin Concerto No.2 in B minor, opus 7 "La Campanella" | Svetlin Roussev
Niccolò Paganini
Violin Concerto in B minor opus 7
0:00 intro
2:21 I. Allegro maestoso
16:51 II. Adagio
22:45 III. Rondo
Svetlin Roussev, violin
Nayden Tod...
Niccolò Paganini
Violin Concerto in B minor opus 7
0:00 intro
2:21 I. Allegro maestoso
16:51 II. Adagio
22:45 III. Rondo
Svetlin Roussev, violin
Nayden Todorov & Sofia Philharmonic Orchestra
Producer Sofia Philharmonic / Director Monika Yakimova
Performance of November 2020
#Paganini #ViolinConcerto #SvetlinRoussev
https://wn.com/Paganini_Violin_Concerto_No.2_In_B_Minor,_Opus_7_La_Campanella_|_Svetlin_Roussev
Niccolò Paganini
Violin Concerto in B minor opus 7
0:00 intro
2:21 I. Allegro maestoso
16:51 II. Adagio
22:45 III. Rondo
Svetlin Roussev, violin
Nayden Todorov & Sofia Philharmonic Orchestra
Producer Sofia Philharmonic / Director Monika Yakimova
Performance of November 2020
#Paganini #ViolinConcerto #SvetlinRoussev
- published: 29 Apr 2021
- views: 341275
36:30
Béla Bartók - Violin Concerto No. 2 (1938)
Béla Viktor János Bartók (25 March 1881 – 26 September 1945) was a Hungarian composer, pianist, and ethnomusicologist. He is considered one of the most importan...
Béla Viktor János Bartók (25 March 1881 – 26 September 1945) was a Hungarian composer, pianist, and ethnomusicologist. He is considered one of the most important composers of the 20th century; he and Franz Liszt are regarded as Hungary's greatest composers (Gillies 2001). Through his collection and analytical study of folk music, he was one of the founders of comparative musicology, which later became ethnomusicology.
Please support my channel:
https://ko-fi.com/bartjebartmans
Violin Concerto No. 2 (1937-38)
Dedicated to Zoltán Székely
1. Allegro non troppo
2. Andante tranquillo
3. Allegro molto
Isaac Stern, violin and the New York Philharmonic conducted by Leonard Bernstein
Béla Bartók's Violin Concerto No. 2, BB 117 was written in 1937–38. During the composer's life, it was known simply as his Violin Concerto. (His other violin concerto, Violin Concerto No. 1, Sz. 36, BB 48a was written in the years 1907–1908, but only published in 1956, after the composer's death, as "Violin Concerto No. 1, Op. posth.")
Bartók composed the concerto in a difficult stage of his life, when he was filled with serious concerns about the growing strength of fascism. He was of firm anti-fascist opinions, and therefore became the target of various attacks in pre-war Hungary.
Bartók initially planned to write a single-movement concerto set of variations, but Zoltán Székely wanted a standard three-movement concerto. In the end, Székely received his three movements, while Bartók received his variations (the second movement being possibly the most formal set of variations Bartók wrote in his career, and the third movement being a variation on material from the first).
Though not employing twelve-tone technique the piece contains twelve-tone themes.
https://wn.com/Béla_Bartók_Violin_Concerto_No._2_(1938)
Béla Viktor János Bartók (25 March 1881 – 26 September 1945) was a Hungarian composer, pianist, and ethnomusicologist. He is considered one of the most important composers of the 20th century; he and Franz Liszt are regarded as Hungary's greatest composers (Gillies 2001). Through his collection and analytical study of folk music, he was one of the founders of comparative musicology, which later became ethnomusicology.
Please support my channel:
https://ko-fi.com/bartjebartmans
Violin Concerto No. 2 (1937-38)
Dedicated to Zoltán Székely
1. Allegro non troppo
2. Andante tranquillo
3. Allegro molto
Isaac Stern, violin and the New York Philharmonic conducted by Leonard Bernstein
Béla Bartók's Violin Concerto No. 2, BB 117 was written in 1937–38. During the composer's life, it was known simply as his Violin Concerto. (His other violin concerto, Violin Concerto No. 1, Sz. 36, BB 48a was written in the years 1907–1908, but only published in 1956, after the composer's death, as "Violin Concerto No. 1, Op. posth.")
Bartók composed the concerto in a difficult stage of his life, when he was filled with serious concerns about the growing strength of fascism. He was of firm anti-fascist opinions, and therefore became the target of various attacks in pre-war Hungary.
Bartók initially planned to write a single-movement concerto set of variations, but Zoltán Székely wanted a standard three-movement concerto. In the end, Székely received his three movements, while Bartók received his variations (the second movement being possibly the most formal set of variations Bartók wrote in his career, and the third movement being a variation on material from the first).
Though not employing twelve-tone technique the piece contains twelve-tone themes.
- published: 07 Apr 2019
- views: 148237
21:29
Wieniawski - Violin Concerto No.2 in D minor, Op.22
Composer: Henryk Wieniawski (10 July 1835 – 31 March 1880)
Work Title: Violin Concerto No.2 in D minor, Op.22
Instrumentation: solo violin, 2 flutes, 2 oboes, 2...
Composer: Henryk Wieniawski (10 July 1835 – 31 March 1880)
Work Title: Violin Concerto No.2 in D minor, Op.22
Instrumentation: solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones (alto, tenor and bass), timpani, and strings.
Performers: Jascha Heifetz (violin), Sir John Barbirolli (conductor), London Philharmonic Orchestra (orchestra)
1990 studio recording:
https://www.youtube.com/playlist?list=OLAK5uy_np-JRMRs-xQeqm7ktcty_0DgkvCFm4rew
0:00 - I. Allegro moderato
11:12 - II. Romance
15:53 - III. Allegro con fuoco
16:26 - IV. Allegro moderato
Violin Concerto No.2 in D minor, Op.22, by the Polish violin virtuoso, Henryk Wieniawski, may have been started in 1856, but the first performance did not take place until November 27, 1862, when he played it in St. Petersburg with Anton Rubinstein conducting. It was published in 1879, inscribed to his dear friend Pablo de Sarasate.
Both main elements of the first movement, its sombre, restless first subject, and its lyrical pendant (begun by a solo horn) are discussed freely and subject to dazzling embellishments by the solo violin. This movement includes a demanding variety of technique, including chromatic glissandi, double stops, arpeggios, sixths, octaves, thirds, chromatic scales, and artificial harmonics, not to mention a myriad of bowing techniques. The beat is based on a 4/4 or common time. The first movement uses a half-sonata form where the orchestral coda after the exposition transitions into the second movement instead of a development section.
The slow movement, a Romance, follows without a break. It is based on a lilting tune in 12/8 time and rises to an impassioned central climax.
A rhapsodic passage marked Allegro con fuoco and mainly a solo cadenza, leads to the finale, a dashing rondo in the gypsy style, which quotes the first movement's subsidiary theme in the course of its second and third episodes. The final movement implements a 2/4 time, which allows the violinists to emphasize certain notes in the beginning of some measures.
Wieniawski's second Violin Concerto remains one of the greatest violin concertos of the Romantic era, memorable for its lush and moving melodies and harmonies.
Source: https://en.wikipedia.org/wiki/Violin_Concerto_No._2_(Wieniawski)
Source videos:
1st movement: https://youtu.be/A0yGO4EJGx0
2nd & 3rd movement: https://youtu.be/P0-ZiXAKCXw
https://wn.com/Wieniawski_Violin_Concerto_No.2_In_D_Minor,_Op.22
Composer: Henryk Wieniawski (10 July 1835 – 31 March 1880)
Work Title: Violin Concerto No.2 in D minor, Op.22
Instrumentation: solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones (alto, tenor and bass), timpani, and strings.
Performers: Jascha Heifetz (violin), Sir John Barbirolli (conductor), London Philharmonic Orchestra (orchestra)
1990 studio recording:
https://www.youtube.com/playlist?list=OLAK5uy_np-JRMRs-xQeqm7ktcty_0DgkvCFm4rew
0:00 - I. Allegro moderato
11:12 - II. Romance
15:53 - III. Allegro con fuoco
16:26 - IV. Allegro moderato
Violin Concerto No.2 in D minor, Op.22, by the Polish violin virtuoso, Henryk Wieniawski, may have been started in 1856, but the first performance did not take place until November 27, 1862, when he played it in St. Petersburg with Anton Rubinstein conducting. It was published in 1879, inscribed to his dear friend Pablo de Sarasate.
Both main elements of the first movement, its sombre, restless first subject, and its lyrical pendant (begun by a solo horn) are discussed freely and subject to dazzling embellishments by the solo violin. This movement includes a demanding variety of technique, including chromatic glissandi, double stops, arpeggios, sixths, octaves, thirds, chromatic scales, and artificial harmonics, not to mention a myriad of bowing techniques. The beat is based on a 4/4 or common time. The first movement uses a half-sonata form where the orchestral coda after the exposition transitions into the second movement instead of a development section.
The slow movement, a Romance, follows without a break. It is based on a lilting tune in 12/8 time and rises to an impassioned central climax.
A rhapsodic passage marked Allegro con fuoco and mainly a solo cadenza, leads to the finale, a dashing rondo in the gypsy style, which quotes the first movement's subsidiary theme in the course of its second and third episodes. The final movement implements a 2/4 time, which allows the violinists to emphasize certain notes in the beginning of some measures.
Wieniawski's second Violin Concerto remains one of the greatest violin concertos of the Romantic era, memorable for its lush and moving melodies and harmonies.
Source: https://en.wikipedia.org/wiki/Violin_Concerto_No._2_(Wieniawski)
Source videos:
1st movement: https://youtu.be/A0yGO4EJGx0
2nd & 3rd movement: https://youtu.be/P0-ZiXAKCXw
- published: 16 Mar 2018
- views: 109508
3:29
Handel - Concerto Grosso Op. 6, No. 11 - Andante Larghetto
Edmonds Woodway Symphony Orchestra plays Andante Larghetto from Concerto Grosso Op. 6, No. 11 at the Winter Benefit Concert
Edmonds Woodway Symphony Orchestra plays Andante Larghetto from Concerto Grosso Op. 6, No. 11 at the Winter Benefit Concert
https://wn.com/Handel_Concerto_Grosso_Op._6,_No._11_Andante_Larghetto
Edmonds Woodway Symphony Orchestra plays Andante Larghetto from Concerto Grosso Op. 6, No. 11 at the Winter Benefit Concert
- published: 08 Dec 2024
- views: 18
8:31
Violin Concerto No.2 in B minor, ('La campanella') Op.7-Rondo by Paganini
Beautiful violin music by the great romantic violinist virtuoso Paganini (1782-1840).
Performed by
Ilya Kaler, violinist
Polish National Radio Symphony Orc...
Beautiful violin music by the great romantic violinist virtuoso Paganini (1782-1840).
Performed by
Ilya Kaler, violinist
Polish National Radio Symphony Orchestra conducted by Stephen Gunzenhauser.
https://wn.com/Violin_Concerto_No.2_In_B_Minor,_('La_Campanella')_Op.7_Rondo_By_Paganini
Beautiful violin music by the great romantic violinist virtuoso Paganini (1782-1840).
Performed by
Ilya Kaler, violinist
Polish National Radio Symphony Orchestra conducted by Stephen Gunzenhauser.
- published: 25 Dec 2008
- views: 490104