The Beeb 3's In Tune - 2

Best Classical Music

The Beeb 3's Late Junction - 2

Classical Bangers 🎹🎻

The Beeb 3's  Through the Night - 3

The Beeb  3's Afternoon Concert - 3

Ezio Bosso o músico angélica

Glazunov: Symphony No. 4 - Ovsianiko-Kulikovsky: Symphony No. 21

Symphony No. 4 in E-Flat Major, Op. 48: I. Andante - Allegro moderato

Waqt

Spatial Audio - The 3D Classical Collection

Berlioz: La damnation de Faust, Op. 24, H 111, Pt. 1: Hungarian March

Wolfgang Amadeus Mozart, Vol. 1

Requiem in D minor, K. 626 Lacrimosa

Prokofiev: Symphony No. 5 & Suites from Romeo and Juliet

Prokofiev: Suite No. 2 from Romeo and Juliet, Op. 64ter: I. The Montagues and Capulets

Blue to Red

Interstellar

Kaldalóns: Ave María (Arr. Víkingur Ólafsson)

Kaldalóns: Ave María (Arr. Víkingur Ólafsson) (Upright Piano)

Crossing the Borders

Oboe Concerto in D Minor, S. Z799: II. Adagio (Arr. for Clarinets)

Classical Lullabies from Nature 39

Pyotr Ilyich Tchaikovsky : The Seasons Op.37a - X. October. Autumn Song

Swan Lake, Op. 20

A Grand Stream

The Opinion Of The Lamb, Pt. 1

In search of a real world

transformation, regeneration

MacDara

After the surprise success of Scrimshire's autumn-celebrating EP in 2021, the prolific producer and label manager has written a new set of songs that expand the concept record into a full length album. 

Introducing this new release is the gentle, picked guitars of Hazel. A piece that draws so many of Scrimshire's influences together from lo-fi folk to cinematic jazz and beyond. An atmospheric and dream-like journey into the autumn world Scrimshire clearly loves so much. 

The full length album will be released in October, featuring the Guy Garvey favourite Hornbeam.

Hazel

Scrimshire - Hazel

Field: Nocturne No. 9 in E Minor, H. 46

Nocturne No. 9 in E Minor, H. 46

Bach - Preludes

Prelude in E Minor, BWV 941

Fantasia que contrahaze la harpa en la manera de Ludovico

with Keri McCarthy, oboe
and Ryan Hare, bassoon
Bryan Hall Theatre
Washington State University
9/17/15

Francis Poulenc Trio for Oboe, Bassoon, and Piano III. Rondo: Tres vif

Schonberg : Verklärte Nacht, 5 Orchestral Pieces & Piano Works

Verklärte Nacht, Op. 4: I. Grave (1943 Version)

Tune Your Brain for Stress Relief

Liszt: Consolations, S. 172: No. 3 in D-Flat Major. Lento, placido

Piano Moods

Beethoven: Piano Sonata No. 14 in C-Sharp Minor, Op. 27 No. 2 "Moonlight Sonata": I. Adagio sostenuto

Romance of the Violin

Piano Concerto No. 21 in C Major, K. 467: II. Andante (Arranged for Violin & Orchestra)

performed by ensemble Ignotae deae:
Antonia Harper, soprano
Paola Ventrella, theorbo
Paola Francesca La Forgia, gamba

in Roccalvecce (Italy), in July 2016

Recording and editing: Baltazar Zuniga
Copyright Ignotae deae (2016)

Barbara Strozzi | Amor Dormiglione

Mozart: Ouvertüren

Don Giovanni, K. 527: Overture

Álbum

De los álamos vengo madre- Juan Vasquez

The Paul Badura-Skoda Edition - Chamber Recordings

Haydn: Piano Trio No. 1 In G Major, Hob.XV:25 - "Gypsy": 1. Andante

A contemporary version Erik Satie's timeless Gymnopédie No.1 - Brought to you by Remixdj.

Satie Amazon
https://www.amazon.com/Erik-Satie-Essential-Collection/dp/B00J0LBFIG/

Satie iTunes
https://music.apple.com/gb/album/erik-satie-the-essential-collection/918615441

Best of Satie
https://play.google.com/store/music/album?id=Bditbkfgfdqvxx7hansrl6qhy4y

Satie Compilation
https://open.spotify.com/album/0vzKMInu4PzU2Qyi6NgmRK

Erik Satie Album
https://www.deezer.com/us/album/7540311

Best of Satie Playlist
https://www.youtube.com/watch?v=mk2SNcpTNbs&t=68s

Erik Satie The Essential Collection

Gymnopédie

🎥 VIDEO

Gymnopédie No.1 - Satie

Claude Debussy’s Clair de Lune is the third movement of his Suite Bergamasque, written for solo piano and completed in 1905. The title, meaning “Moonlight,” is inspired by Paul Verlaine’s poem, evoking a serene and reflective atmosphere. The piece epitomizes French Impressionism, focusing on mood and imagery over traditional form.
Structure and Atmosphere

The piece is in ternary form (ABA):

    Opening (A):
    A soft, flowing melody emerges over delicate arpeggios. The music feels weightless, like moonlight shimmering on water. Debussy uses rich harmonies and seventh chords to create a dreamlike quality, with a tender, introspective mood.

    Middle Section (B):
    The dynamics intensify, with fuller textures and soaring melodic lines. This section brings a sense of emotional depth and urgency, contrasting with the calm opening. Arpeggios cascade dramatically, giving the impression of moonlight suddenly brightening or revealing hidden beauty.

    Closing (A):
    The opening material returns, slightly varied, fading into a gentle, whisper-like conclusion. The piece ends as quietly as it began, leaving a sense of stillness and wonder.

Musical Features

    Harmonics: Debussy’s use of whole-tone scales, parallel chords, and non-functional harmony creates a suspended, ethereal soundscape.
    Melody: The lyrical melody floats effortlessly above the accompaniment, expressing both simplicity and emotional depth.
    Texture: Light, transparent textures alternate with moments of lush, resonant fullness, embodying the interplay of light and shadow.

Mood and Interpretation

Clair de Lune evokes the quiet magic of a moonlit night, combining serenity with subtle melancholy. Its poetic quality invites listeners to imagine moonlight reflecting on a calm lake, whispering through trees, or illuminating a tranquil landscape. The music feels timeless, blending stillness with fleeting moments of intensity.

Cultural Impact

This iconic piece has been widely used in films (Ocean’s Eleven, Twilight) and pop culture, often accompanying scenes of romance, nostalgia, or quiet reflection. Its universal appeal lies in its ability to evoke deep emotion while remaining understated.
Performance Notes

Expressive dynamics, fluid phrasing, and careful pedaling are essential to capturing its delicate atmosphere. A balance between freedom and control ensures its dreamlike flow remains intact.

Clair de Lune is a masterpiece of impressionistic music, celebrated for its ability to transport listeners into a realm of quiet beauty and introspection.

Claude Debussy - The Essential Collection

Clair de Lune

Clair de Lune - Debussy

BACH, VIVALDI. CONCERTOS
Einar Steen-Nøkleberg, piano (1–3, 7–8, 13–15)
Alexander Zagorinsky, cello (4–6, 10–12)
The Chamber Orchestra of the Vologda Philharmonic Society
Conductor – Alexander Loskutov

Johann Sebastian Bach. Harpsichord Concerto No. 1 in D minor, BWV 1052
1 I. Allegro
2 II. Adagio
3 III. Allegro
Antonio Vivaldi. Cello Concerto in A minor, RV 422
4 I. Allegro
5 II. Largo cantabile
6 III. Allegro
Johann Sebastian Bach. Harpsichord Concerto No. 4 in A major, BWV 1055
7 I. Allegro
8 II. Larghetto
9 III. Allegro ma non tanto
Antonio Vivaldi. Cello Concerto in G major, RV 413
10 I. Allegro
11 II. Largo
12 III. Allegro
Johann Sebastian Bach. Harpsichord Concerto No. 5 in F minor, BWV 1056
13 I. [Allegro]
14 II. Largo
15 III. Presto

Recorded In 2018.
Sound engineer – Alexander Volkov
Editor – Dmitry Maslyakov
Design – Anna Kim
Cover photo – "Sky Of Vologda" By Tanya Sazansky
Translation – Nikolay Kuznetsov
Digital Release: Dmitry Maslyakov, Roman Tomlyankin

MEL CD 1002592

14. Bach: Harpsichord Concerto No. 5 in F minor, BWV 1056 - II. Largo

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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Paganini: 24 Caprices, Op. 1

24 Caprices, Op. 1: No. 5 in A Minor

Relja Lukic (cello)
Orchestra Filarmonica '900 del teatro Regio di Torino, Ezio Bosso
March 31, 2017
℗ 2017 Sony Music Entertainment Italy S.P.A.

Symphony No.1 "Oceans"

Symphony No. 1 "Oceans": I. Allegro Giusto "To Plough the Waves" (Atlantic)

Symphony No. 1 Oceans I. Allegro Giusto To Plough The Waves (Atlantic) - Ezio Bosso

Saint-Saëns: Carnival of the Animals: The Swan

Ravel: Suites auriculaires, Rapsodie espagnole & Frontispice

Rapsodie espagnole, M. 54: IV. Feria (Version for 2 Pianos)