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Classical_part3

Classical_part4

violin concerto

Classical

DJ Cummerbund's Classical Greats

Violin Concerto in D major, Op. 35 - Pyotr Ilyich Tchaikovsky

Violin Concerto in D major, Op. 35 - I. Allegro moderato - Pyotr Ilyich Tchaikovsky (8D Binaural Remastered - Music Therapy)

Wagner: The "Ring" Without Words (Orchestral Highlights from the Ring Cycle)

Wagner: Das Rheingold, WWV 86A: Float up to the Home of the Gods (Entrance of the Gods into Valhalla)

Wagner: Die Walküre, WWV 86B, Act III: Wotan's Farewell to His Favorite Daughter (Wotan's Farewell and Magic Fire Music)

MAURICE RAVEL ~ Bolero
(Radio Symphony Orchestra Ljubljana - Direttore Samo Hubad)

Boléro
From Wikipedia, the free encyclopedia

Boléro is a one-movement orchestral piece by Maurice Ravel. Originally composed as a ballet commissioned by Russian ballerina Ida Rubenstein, the piece, which premiered in 1928, is Ravel's most famous musical composition.[2] Before Boléro, Ravel had composed large scale ballets (such as Daphnis et Chloé, composed for the Ballets Russes 1909–1912), suites for the ballet (such as the second orchestral version of Ma Mère l'Oye, 1912), and one-movement dance pieces (such as La Valse, 1906–1920). Apart from such compositions intended for a staged dance performance, Ravel had demonstrated an interest in composing re-styled 
dances, from his earliest successes (the 1895 Menuet and the 1899 Pavane) to his more 
mature works like Le tombeau de Couperin (which takes the format of a dance suite).

Boléro epitomises Ravel's preoccupation with restyling and reinventing dance movements. It was also one of the last pieces he composed before illness forced him into retirement: the two piano concertos and the Don Quichotte à Dulcinée song cycle were the only compositions that followed Boléro.



MAURICE RAVEL ~ Bolero

Orchestrated by Jesse Roe. Performed by The Andersonville Orchestra.

3 Visions: No. 2 Summerland (William Grant Still -arr. by J. Roe)

Yunchan Lim (임윤찬) F. Liszt Liebestraum No.3 (Love Dream) 리스트 사랑의 꿈

Holst: The Planets, Op. 32

The Planets, Op. 32: IV. Jupiter, the Bringer of Jollity

Part of 'Master of Instrumental' radio collection.

Listen to us http://moinstrumental.neocities.org/listen.html
Or play your music with us https://www.dubtrack.fm/join/master-of-instrumental

Helen Jane Long - Just

Ulster Orchestra (Peter Donohoe, Piano) - Alan Rawsthorne (1905 - 1971) - Piano Concerto No. 1 (FULL)(1939, Revised 1942).


Alan Rawsthorne - Piano Concerto No. 1 (FULL)

Full album tracks from Helen Jane Long's "Embers" album, released in April 2010

Besides

Bells

Wishes

Everything

Gladiator - Music From The Motion Picture

Now We Are Free

Mozart: Così fan tutte, K. 588

Così fan tutte, K. 588, Act 1: "Stelle! Per carità, Signor Alfonso" (Fiordiligi, Dorabella, Don Alfonso) [feat. Cecilia Bartoli, John Tomlinson, Lella Cuberli & Richard Amner]

Così fan tutte, K. 588: Overture

Wagner: Orchestral Music from 'Ring'

Götterdämmerung, Act 3: Siegfrieds Tod und Trauermarsch. Sehr langsam - Feierlich

Mendelssohn Violin Concerto E Minor OP.64 (Full Length) - Hilary Hahn & FRSO

Wagner: Overtures & Orchestral Music

Tristan und Isolde, Act 3: Isoldes Liebestod. "Mild und leise" (Instrumental Version)

Written in 1890, Debussy's Reverie was one of his first solo piano works to make an impact. Even at this early stage in his career, when he was still working out what kind of composer he wanted to be (he was apparently a fervent debater when it came to Wagnerism), it's clear to see traits of that signature Debussy sound.

However, the young Debussy had not quite developed the style and tricks that would earmark him as one of his generation's most notable talents. There are no fireworks here, no sudden explosions in texture that would come to characterise his later works - this is more of a meditation, the perfect precursor to exploring those later works.

The gently repetitive theme that opens the work feels like a descent into sleepy dream-world (as the title suggests), and as the textures become ever richer the dreams only become more lush and addictive. A fantastic early sign that this Debussy fellow was one to watch…

Source:

ClassicFM
http://www.classicfm.com/composers/debussy/music/debussy-reverie/

Retailers:

Debussy Amazon
https://www.amazon.com/Claude-Debussy-Essential-Collection/dp/B00I6CEZQO/

Debussy Spotify
https://open.spotify.com/album/0Mmayh49XRWTXp53uf3jtF

Best of Debussy iTunes
https://music.apple.com/gb/album/claude-debussy-the-essential-collection/819582576

Debussy Compilation
https://listen.tidal.com/album/26275698

Claude Debussy
https://www.deezer.com/us/album/7429526

Best of Debussy Playlist
https://www.youtube.com/watch?v=eXtAfPp-70I&t=76s

Napster
https://us.napster.com/artist/claude-debussy/album/claude-debussy-the-essential-collection

Tidal
https://listen.tidal.com/album/26275698

Also check out the very best in R&B & Pop Music 2020 from IndyPop Records!
www.youtube.com/c/indypoprecords

Claude Debussy - The Essential Collection

Rêverie, L.68

Tidal

The Two Arabesques (Deux arabesques), L. 66, is a pair of arabesques composed for piano by Claude Debussy when he was still in his twenties, between the years 1888 and 1891.

Although quite an early work, the arabesques contain hints of Debussy's developing musical style. The suite is one of the very early impressionistic pieces of music, following the French visual art form. Debussy seems to wander through modes and keys, and achieves evocative scenes through music. His view of a musical arabesque was a line curved in accordance with nature, and with his music he mirrored the celebrations of shapes in nature made by the Art Nouveau artists of the time.

Arabesque No. 1. Andantino con moto

This arabesque is in the key of E major. The piece begins with parallelism of triads in first inversion, a composition technique very much used by Debussy and other Impressionists which traces back to the tradition of fauxbourdon. It leads into a larger section which begins with a left hand arpeggio in E major and a descending right hand E major pentatonic progression.

The second quieter B section is in A major, starting with a gesture (E-D-E-C♯), briefly passing through E major, returning to A major and ending with a bold pronouncement of the E-D-E-C♯ gesture, but transposed to the key of C major and played forte.

In the middle of the recapitulation of the A section, the music moves to a higher register and descends, followed by a large pentatonic scale ascending and descending, and resolving back to E major.

Source:

Wikipedia:
https://en.wikipedia.org/wiki/Deux_arabesques

Debussy Amazon
https://www.amazon.com/Claude-Debussy-Essential-Collection/dp/B00I6CEZQO/

Debussy Spotify
https://open.spotify.com/album/0Mmayh49XRWTXp53uf3jtF

Best of Debussy iTunes
https://music.apple.com/gb/album/claude-debussy-the-essential-collection/819582576

Debussy Compilation
https://listen.tidal.com/album/26275698

Claude Debussy
https://www.deezer.com/us/album/7429526

Best of Debussy Playlist
https://www.youtube.com/watch?v=eXtAfPp-70I&t=76s

Deux Arabesques, L.66: No.1 Andantino con moto

Apple Music

Gerald Finzi: Eclogue Op. 10 para piano y orquesta de cuerdas.
Manuel Matarrita, piano
Camerata San Carlos, Andrey Pérez, director
Abril 2015

Gerald Finzi: Eclogue Op- 10

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.

Clair de Lune

Across The Stars

Across the Stars (Love Theme) (From "Star Wars: Attack Of The Clones")

Tristan und Isolde, Act I: Prelude