@maglido: Thanks a lot. Surreal, yes in a way, chose the overly acoustic church very much on purpose though. Gives such nice lightness to the harmonics.

@claudiuspopp: I heard many versions of this Suite... and i say that you are amongst the good ones... none of the notes sounds mushy, everything clear but still smooth and flows nicely... well done...

hearing this rendition and getting lost In the picture of this dashing gentleman is heaven :p

👀👄🧚‍♀️🧞‍♀️🧜‍♂️🏄‍♂️😍😍😍

classsic

Chopin Scherzo No. 1 in B minor Op. 20 Presto con Fuoco

This piece was written in 1831, during the November Uprising against the Russian Empire. A friend of Chopin, Thomas Albrecht, to whom it was dedicated, convinced him to stay in Vienna, away from his family in Poland, to build his musical career. During this time he only played one concert, where he performed his concerto in E minor. Because of the struggle and the war, his pieces changed from a brilliant style one to a new, darker tonality. Chopin composed this piece and several of the Opus 10 etudes around the same time.

Scherzo is "joke" in Italian. Yet this piece is dark, suspenseful, and full of chaos, where the first clear melody is in the slow B Major middle section, but it returns to a chaotic murmur soon after. It is hypothesized that this portrayed Chopin's feelings toward the war, or told a story about rebellion in his homeland of Poland. 

CHOPIN H. A. Engel 12 Scherzo No. 1 op. 20 in B minor- Presto con fuoco 320kbps

Elgar: Enigma Variations, Op. 36 by Pierre Monteux

Theme (Enigma): Andante - Variations on an Original Theme (Enigma), Op. 36 (Remastered 2022, Version 1958)

Chopin's 24 Preludes satisfy so many different tastes in a single opus. from the (mostly) serene A Major (no. 7) to the whimsical F Major (no. 23), elegant and moving Bb Major (No. 21), the energetic but unsettling G Minor (no. 22) and the restless finale, D Minor (no. 24), 

One could easily mistake the Preludes for being minimalistic in scope. But unlike other expansive works, whether by Chopin himself or other great composers, these preludes cover enormous territory: in traditional sonata form, the composer settles on a very limited number of themes and then expands and transforms these basic ideas into elaborate musical tapestries woven with but two or three threads. Chopin here, though, invents not two or three key themes but several dozen of them, and then let’s each one free to follow its own direction.

16 Chopin  Prelude No. 16 In Bb Minor (Presto Con Fuoco)

This serenade is a classic example of Schubert's outstanding lyrical facility, as well as his penchant for long melodic lines. There is little interruption in the fluttering harp-like broken triad accompaniment, creating a tense contrast with the spacious and languid melody—an anticipation of Felix Mendelssohn's Songs Without Words. Without repeats, the melody develops into a shadowy and frequently modulating middle section before returning to its relaxed flow.

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Franz Schubert: Impromptu in G-Flat Major, Op. 90, No. 3 (Live)

Antonio Bertali (1605-1669)

Ciaccona
 
Rachel Podger, violin
Marcin Świątkiewicz, harpsichord - organ
Daniele Caminiti, theorbo - baroque guitar

Channel Classics, 2014

Ciaccona

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Quartet No. 4 III. Presto Finale K157

Ständchen D. 889, es un lied para voz y pianoforte compuesto por F Schubert en julio de 1826 en Währing, entonces era una villa del noroeste de Viena, ahora es un suburbio. El lied se compuso por la canción del Acto II, Escena tercera de la obra de Shakespeare, Cymbeline.

Schubert murió en 1828 a la temprana edad de 31 años y la canción se publicó póstumamente por Anton Diabelli en 1830. En su forma origina, la canción es relativamente más corta pero Friedrich Reil le añadió dos versos más en la segunda edición de Diabelli de 1832.

Aunque la traducción alemana que Schubert utilizó se atribuyó a August Schlegel (aparentemente basada en varias ediciones de Cymbeline que bajo su nombre se publicaron en Viena en 1825 y 1826, el texto no es exactamente el mismo sobre el que Schubert adaptó la canción: esta particular adaptación se publicó primero en 1810 por un tal Abraham Voß, y después bajo los nombres de A. W. Schlegel y J. J. Eschenburg, en una colección de obras de Shakespeare de 1811.

Al piano: Ismael Muñoz, profesor de piano, teclado y repertorista de la Escuela de Música.


———————————————————————————————————————————————
Ständchen D. 889, is a lied for voice and pianoforte composed by F Schubert in July of 1826 in Währing, then a villa of the northwest of Vienna, is now a suburb. The lied was composed by the song of Act II, Scene III of the work of Shakespeare, Cymbeline.

Schubert died in 1828 at the young age of 31 and the song was posthumously published by Anton Diabelli in 1830. In its original form, the song is relatively shorter but Friedrich Reil added two more verses in the second edition of Diabelli of 1832 .

Although the German translation Schubert used was attributed to August Schlegel (apparently based on several editions of Cymbeline that were published under his name in Vienna in 1825 and 1826, the text is not exactly the same on which Schubert adapted the song: this particular Adaptation was first published in 1810 by one Abraham Voß, and later under the names of AW Schlegel and JJ Eschenburg, in a collection of Shakespeare's works of 1811.

On the piano: Ismael Muñoz, teacher of piano, keyboard and repertoire of the School of Music.

Ständchen D. 889, Franz Schubert (Live)

12 pieces of the best loved and known solo piano music.

Bach Two Part Invention No 8 in F BWV 779

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Valse de L'adieu, Chopin: Waltz in A-flat Major, Op. 69, No. 1

Michael Lynn - recorder, Kathie Stewart - Flute - with Apollo's Fire

Please support me by joining my Patreon page: www.patreon.com/MichaelLynnFlutes

Telemann - Concerto in E Minor for Flute and Recorder  Allegro

Antonio Vivaldi - Winter (Full) - The Four Seasons

Bach - Cello Suite No. 1 - Prelude

Ólafur Arnalds - Erla's Waltz

Franz Schubert - Ave Maria

Wow, 1.000.000 plays reached! Thanks a lot!

Claudius Popp - Cellist and teacher

Claudius Popp was born in Weimar, Germany in 1982. He began playing the cello at the age of four, receiving instruction from his father, Professor Gotthard Popp, a cellist himself. At age six, his talent became known as he won First Prizes in the prestigious "Jugend Musiziert" and at the International Cello Competition in Liezen, Austria. Considered a prodigy, he was accepted by Professor Karine Georgian and Heinrich Schiff as a student and continued his studies dually in Detmold, Germany and at the Mozarteum Salzburg, Austria. His precocious musicianship continued to thrive as he pursued advanced studies at the Hochschule for Musik Hanns Eisler in Berlin with David Geringas, graduating with a diploma in 2004 and a masters with distinction and honors in 2007. Whilst a student, Claudius continued his winning streak in world competitions, taking top prizes at Tchaikovsky Competition Moscow (2002), Osaka International Music Competition, ARD International Music Competition (Barenreiter Prize), the International Concertino Prague Competition, and the Competition of the Deutsche Musikrat (2003). He is a scholarship holder of the Oscar and Vera Ritter Foundation, Studienstiftung des Deutschen Volkes and the Werner Richard-Dr. Carl Doerken Foundation. 

Claudius made his concerto debut as a soloist at age nine. Since then, he has performed with leading orchestras such as NDR Sinfonie, Berlin Staatskapelle, Mozarteum Orchestra Salzburg and the Chamber Orchestra of the Berlin Philharmonic, playing in renowned halls such as Berlin Philharmonie, Cologne Philharmonie, Konzerthaus Berlin, Suntory Hall in Tokyo, Rudolfinum in Prague, Tchaikovsky Hall and Great Hall of the Tchaikovsky Conservatory in Moscow, the Tonhalle in Dusseldorf and the Musikforum in Weimar under the baton of greats such as Daniel Barenboim and Eiji Oue.

Claudius is an in demand avid chamber musician as well. He plays throughout Europe's most prestigious festivals including the Rheingau, Mecklenburg Vorpommern, the Schleswig-Holstein, Heidelberg Fruhling, and the Music Festival Cervo. He has held recitals with Elena Bashikrova, Alfredo Perl, Daniel Barenboim, Joerg Widmann and Paul Rivinius.  

Through collaboration and performance, he receives artistic direction and aesthetic cues from world acclaimed musicians such as Yo-Yo Ma, Lynn Harrell, Harvey Shapiro and Daniel Barenboim, with whom he enjoys a special working relationship. In 2003, in rather unprecedented fashion maestro Barenboim made Claudius, who was then only 21 years of age, principal cellist of his home orchestra, Staatskapelle Berlin overnight. Claudius frequently plays chamber concerts with him; while relishing the romantic repertoire for piano and cello, together their concerts insightfully elaborate upon modern music as well. In 2009, the NY Times hailed his interpretation of Elliot Carter's cello sonata, and concluded this "extremely modern" piece had become "entirely accessible" through his impassioned and dynamic performance, "a musician that can lend even new music new notes." The latest of many collaborations with Daniel Barenboim was a highly successful concert tour with Strauss' Don Quixote in 2014.

Next to his solo and orchestra work, Claudius Popp holds a teaching position at the School of Music 'Hanns Eisler' in Berlin.

Bach - Cello Suite No. 1 - Prelude

claudiuspopp

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