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New England Conservatory President Emeritus and Walter W. Naumburg Chair in Music, Laurence Lesser Bach: Suite for Cello solo no 1 in G major, BWV 1007. Recorded live in Jordan Hall, Boston, by Alex Hug

Bach: Suite for Cello solo no 1 in G major-Prelude

DÚO:
violín: Eva Ozáez
Violonchelo: Emilio Ozáez
https://artem.es

EL DIA QUE ME QUIERAS, Carlos Gardel. TANGO

author Jiri Huska, cellist Bledar Zajmi, www.jirihuska.com

PRELUDE IN G MAJOR (CELLO)

"Sostenuto" (2014) - EXCERPT

Doris Prochnau in memoriam

for violoncello solo
Cornelius Hummel - violoncello

Scheuren und Töhne - Lennart Scheuren, recording
www.scheurenundtoehne.de

by Moritz Laßmann

www.corneliushummel.de
www.moritzlassmann.de
www.facebook.com/pages/Moritz-La%…410813018?ref=hl

© 2014 by Moritz Laßmann

"Sostenuto" (2014) - for violoncello solo - EXCERPT - Moritz Laßmann

A. Vivaldi, Aria 'O Più Tremar Non Voglio' - L'Olimpiade RV 725

Movie Night – The Greatest Film Themes

Richter: On the Nature of Daylight

24 Postcards In Full Colour

This Picture Of Us. P.

Arbenita (11 years)

Luigi Boccherini
Quartet & Sonatas
Accademia Ottoboni
Marco Ceccato, cello & conductor

More info: http://www.outhere-music.com/en/albums/cello-concerto-g-480-quintettes-g-451-g-436-sextet-g-463-zzt-360

Boccherini: Concerto Per Violoncello In Sol Maggiore G 480-Allegro —Accademia Ottoboni & M. Ceccato

These music clips are featured in the Andrea Chénier Digital Programme. For more information visit,
www.roh.org.uk/publications


These clips are from a 1964 recording of Andrea Chénier, released by Warner Classics, of Franco Corelli (Andrea Chénier), Antonietta Stella (Maddalena di Coigny), Mario Sereni (Carlo Gérard) and Guiseppe Modesti (Roucher/Fouquier-Tinville), featuring the Orchestra e Coro del Teatro dell'Opera di Roma, conducted by Gabriele Santini ©EMI Records

Andrea Chénier, Act II, Chénier and Maddalena - 'Ecco l'altare'

Andrea Chénier, Act I, Gérard - 'T'odio, casa dorate!'

Madame Butterfly - Love Duet - Part 1

CD & digital > https://ampl.ink/XEjE0
Bruno Sanfilippo: Piano
Manuel Del Fresno: Violoncello
Pere Bardagí: Violin
Barcelona based piano player and electronic musician Bruno Sanfilippo is a classically trained musician and composer who has been exploring the borders of minimal piano concepts and electro-acoustic music for more than 20 years. His CD series "Piano Textures“ sets him in a direct tradition of artists as Harold Budd and Brian Eno, combining slow piano tunes with electronic soundscapes. With "ClarOscuro“, he now makes his step into the genre of modern classical music by presenting his first composition work for piano trio. Most of the nine tracks on the album feature Sanfilippo accompanied by Spanish musicians Manuel del Fresno on Violoncello and Pere Bardagí on Violin, while some of the tracks still let the sensitive piano playing stand on its own. With the fragility and beauty of some Arvo Pärt compositions and a high cinematic touch, "ClarOscuro" brings the perfect soundtrack for an imaginary movie.
www.bruno-sanfilippo.com

ClarOscuro

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For more information visit: http://www.klassikakzente.de/recomposed/home 

Some works are so familiar that it is almost impossible to hear them afresh, but that is what Max Richter has achieved with Vivaldi “Recomposed”. This is no mere arrangement; instead Richter has absorbed Vivaldi’s The Four Seasons into his own musical bloodstream. At first Richter followed the example of other works in the “Recomposed” series, which re-mix existing recordings, but, he says, “I wanted to open up the score on a note-by-note level, and working with an existing recording was like digging a mineshaft through an incredibly rich seam, discovering diamonds and not being able to pull them out. That became frustrating. I wanted to get inside the score at the level of the notes and in essence re-write it, re-composing it in a literal way.”Richter calculates that, in the process, he has discarded around three-quarters of Vivaldi’s original. He opens with what he describes as “a dubby cloud which I’ve called Spring 0. It functions as a sort of prelude, setting up an electronic, ambient space for the first Spring movement to step into. I’ve used electronics in several movements, subtle, almost inaudible things to do withthe bass, but I wanted certain moments to connect to the whole electronic universe that is so much part of our musical language today.” Other resonances are no less unexpected: Richter describes part of the first movement of his Summer as “heavy music for the orchestra. It’s relentless pulsed music, which is a quality that contemporary dance music has; and perhaps I was also thinking about John Bonham’s drumming. Then, in the second movement of Autumn I asked the harpsichordist Raphael Alpermann to play in what is a rather old-fashioned way, very regularly, rather like a ticking clock. That was partly because I didn’t want the harpsichord part to be attention-seeking, but also because that style connects to various pop records from the 1970s where the harpsichord or Clavinet was featured, including various Beach Boys albums and the Beatles’ Abbey Road.” Clearly, Richter has brought his own frame of reference to the project. As he says, “Vivaldi’s music is made of regular patterns, and that connects with post-minimalism, which is one strand in the music that I write. That felt like a natural link, but even so it was surprisingly difficult to navigate my way through it. At every point I had to work out how much is Vivaldi and how much is me. It was difficult but also rewarding because the raw material is so fascinating.”Just as Richter’s Seasons plays tricks with the way we hear Vivaldi’s original, so it also asks questions of the soloist, Daniel Hope. “Violinists have Vivaldi’s The Four Seasons hardwired in their brain. Daniel is likely to play the original I don’t know how many times in a year, and for him to have my parallel text going on in another part of his brain is a challenge. I think he did a wonderful job. He brought to it a deep engagement with the original, but he was fully prepared to cut this new swathe through the text.”


Spring One - Vivaldi Recomposed - The Four Seasons

Spring 1 (2012)

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Eine Klassik für Sich 2012

Richter: Recomposed By Max Richter: Vivaldi, The Four Seasons: Summer 3 (2012)

Bristol Proms

Richter: Recomposed By Max Richter: Vivaldi, The Four Seasons: Autumn 2 (2012)

Recomposed By Max Richter: Vivaldi, The Four Seasons

Richter: Recomposed By Max Richter: Vivaldi, The Four Seasons: Winter 1 (2012)

Sample recording from the CD "Double Bass Portraits - a Musical Exhibition"

01 L. Boccherini - Sonata No 6; Adagio, Jeff Bradetich with Judi Rockey Bradetich, Piano

♫♫ للمزيد من الموسيقى العالمية ♫♫ 
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