Ein schöes Lied und ein wunderbarer Vortrag von euch beiden, Frank! Unglaublich, dass so etwas live gelingt! :)

Ah, refreshment for my ears! Glad to have your music available when I need it! ☺♥

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Nocturne 07 August, From Cloud To Cloud - Piano Solo

Album: MILONGA DEL ANGEL
1. Brejeiro (Nazareth) 
2. Escovado (Nazareth) 
3. Matuto (Nazareth) 
4. Paçoca (Machado) 
5. Aria nº5 (Villa-Lobos) 
6. Zapateo (Amador) 
7. Milonga del Angel (Piazzolla) 
8. Calambre (Piazzolla) 
9. Otoño Porteño (Piazzolla) 
10. Balada para un loco (Piazzolla) 
11. Nana (Brower) 
12. Ojos brujos (Brower) 
13. Tango del Angel (Piazzolla) 
14. Invierno Porteño (Piazzolla) 
15. Muerte del Angel (Piazzolla) 
16. Por una Cabeza (Gardel)

Milonga del Angel (Piazzolla)

Peter Boyer's Symphony No. 1 was commissioned by the Pasadena Symphony, and premiered by that orchestra under his direction in April 2013. The three-movement, 24-minute symphony is dedicated to the memory of Leonard Bernstein. This is the first movement, "Prelude."

The symphony is the centerpiece of a new recording of Boyer's music by the London Philharmonic Orchestra, conducted by the composer at historic Abbey Road Studio One in 2013. Released worldwide by Naxos in its American Classics Series in February 2014, the recording also includes four other Boyer orchestral works. It has been broadcast on over 150 radio stations around the U.S. and abroad.

"Boyer, who claims more than 300 performances by more than 100 orchestras, writes in a fluent, powerful style that fuses conservative American currents with Hollywood-ish size and populist sentiment... eloquent, spaciously recorded performances…"
-- Gramophone

"Like all of the music on this disc, the symphony is tuneful, expertly crafted, colorfully scored… Boyer knows what he wants, and how to do it. This very well engineered disc is lots of fun, and a really good listen."
-- ClassicsToday.com

"The performances here are simply superb, showing off [Boyer's] engaging and easily accessible cinematic style. This is certainly a recording that should have broad appeal, and one which you will likely find yourself returning to time and again. The music is brilliantly orchestrated with engaging thematic ideas and a fine sense of dramatic shape."
-- Cinemusical

"Classical music listeners apprehensive about 'new music' have nothing to fear, and everything to love, about Peter Boyer. The American composer writes music in a neo-romantic style with an unabashedly direct and popular appeal… His Symphony No. 1, a tribute to his muse Leonard Bernstein, is a stirring work, filled with soaring, 'American sounding' themes and propulsive rhythms… a recording that’s sure to win him many new fans."
-- WRTI (Philadelphia), New Releases

To purchase on iTunes: https://itunes.apple.com/us/album/boyer-symphony-no.-1/id804059505

Music © 2013 Propulsive Music. Recording © 2014 Naxos Rights US, Inc. Used with permission.

Buy on Amazon

Symphony No. 1 - Movement I: Prelude – London Philharmonic Orchestra/Peter Boyer, conductor

The Oscar Medley - Itzhak Perlman & Yo-Yo Ma

soprano: U.Tervoort
guitar: F.Hiemenz
music: Mauro Giuliani (Nr. IV from "Sei Lieder" op.89)
lyrics: August Ernst von Steigentesch (1774 - 1826)

-----------------------
live in concert
Eichenau/Germany 
'93
(recorded by D.Hackenberg / (edited by FHgitarre 2014)
-------------------------------------------------
Original Lyrics & Translation:

"Wir gingen beide Hand in Hand, 
Ihr Auge sprach, was ich empfand, 
Es kämpft' auf ihren Wangen 
Verwirrung und Verlangen.

Gott Amor folgte Schritt vor Schritt, 
Sie seufzte still, ich seufzte mit, 
Und Nachtigallen sangen, 
und Nachtigallen sangen.

Jetzt suchte sie zum Busenstrauß
Vergissmeinnicht und Veilchen aus, 
Ich bückte mich und drückte 
Die Hand, die Blumen pflückte.

Sie zog die Hand beschämt an sich, 
Errötend fragt' ich: 'Liebst du mich?' 
Sie schwieg, ward rot, und nickte,
sie schwieg, ward rot, und nickte. "
------------------

Translation (my own attempt, faultlessness not guaranteed):

"We both walked hand in hand, 
her eyes spoke what I felt; 
on her cheeks there struggled 
confusion and desire

God Amor [Cupid] followed step by step, 
she sighed quietly, I sighed with her, 
and nightingales were singing, 
and nightingales were singing.

Now she was choosing for her bouquet,
forget-me-nots and violets. 
I bent down and pressed 
the flower picking hand

Embarrassed, she pulled her hand back,
blushing I asked, 'do you love me?' 
Silently she reddened and nodded."
--------------------
artwork (excerpt): Charles Moreau (*1830) "A Lover's Token"

'Lied'(Nr.4 from '6 Lieder' by Mauro Giuliani)- U.Tervoort & F.Hiemenz [live]

Guitar Concerto No.1 in D major, Op. 99 / 3rd movement "ritmico e cavalleresco"
composed in 1939 by Mario Castelnuovo-Tedesco (http://theartsongproject.com/portfolio-item/castelnuovo-tedesco-mario/)
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guitar : F. Hiemenz 
conductor : H. Große-Boymann
'89
-----------------
restored from a CompactCassette Copy with WaveLab 7, august 2015


Guitar Concerto No.1 (3rd movement) by M.Castelnuovo-Tedesco

Ernesto Cortazar - Eternity

David Loebel conducts the New England Conservatory Philharmonia in a performance of Beethoven’s Symphony no 8 in F major, Op. 93. Recorded live in Jordan Hall, Boston November 4, 2015.

Beethoven: Symphony no 8 in F major, Op. 93 Allegro vivace

A set of 11 original piano nocturnes by pianist composer, Phil Best. 

Nocturnes are dark, melancholic virtual love songs full of pathos and longing. Each one feels like an intimate soliloquy about unrequited love, heartbreak and desire.

Inspired by Chopin's masterpieces of this genre, Phil explores a more contemporary approach, mixing in jazz, blues, pop and filmic elements.

Nocturnes

Your Face In The Moonlight

Sangwon Lee, clarinet; Jonah Ellsworth, cello; Yu Ting Christine Huang, piano
Chamber Music Gala, December 3, 2018, NEC’s Jordan Hall

Max Bruch composed his “Acht Stücke” Eight Pieces, Op. 83, for clarinet, cello (or viola), and piano, in Berlin in 1910 for his son Max Felix, a clarinetist. A virtual contemporary of Brahms and Dvorák, Bruch was renowned during his lifetime for his choral music, but is perhaps best remembered today for his Violin Concerto No. 1 in G Minor, Op. 26. After his death in 1920, his works were suppressed by the nascent Nazi Party and as a result, his music is not as widely known today as it perhaps should be.

Of the Eight Pieces, which one writer described as favoring “rich, mellow instrumental hues and an autumnal maturity of expression, deeply felt but purged of excess,” the third -- heard here -- was Bruch’s personal favorite. Despite being written at a time when many composers were experimenting with modernism, they are thoroughly and unapologetically Romantic in style. In his one possible nod to an ever busier world, Bruch stated that the Eight Pieces could and should be regarded as individual miniatures rather than movements of a greater whole, and had them published separately to emphasis the point.

Max Bruch - from Eight Pieces, Op. 83: iii. Andante con moto

Astor Piazzola - Libertango - www.szabokrisztian.net

________ ! @  Welcome @ ! ________

This channel is collecting the
recordings in which I took part
through the years as a guitar-
player. The great ones as well 
as those which are just not bad 
enough for the ashtray. 
If you like some of them, you're
welcome to let me know it. ;-)

¯¯¯¯¯  Thank you for visiting  ¯¯¯¯¯ 

*********************************
Some of my recordings
are free for download
(wav format, no mp3
compression!)
http://soundcloud.com/fhgitarre/sets/free-downloads/
!! If you use one of them for 
videos or other web content 
please give credit with a link
at this soundcloud channel !!
*********************************
Frank Hiemenz
- at soundcloud since Feb. 2012 -

'Lied'(Nr.4 from '6 Lieder' by Mauro Giuliani)- U.Tervoort & F.Hiemenz [live]

FHgitarre-classicalGUITAR

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