Top 50 Best Classical Violin Music

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classical music

Violin & Piano #1

Wieniawski Caprices

Henryk

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Çeşitli Sanatçılar – Top 50 Most Popular Classical Violin

Yacht Rock

White Sail, Blue Sky

first violin played by Jeremy Potts 
https://soundcloud.com/jeremy-potts-violinist/etude-caprice-no-3-in-a-minor?utm_source=soundcloud&utm_campaign=share&utm_medium=facebook

Wieniawski Caprice No.3

I got bored so I made this yesterday.
Credits to Fandroid Music for the original music!

Please do like and follow for more!

Tags: #nightcore #fnaf #fnafnightcore #fivenightsatfreddys #fnafsl #sl #sisterslocation #song #sisterlocation #fivenightsatfreddyssisterlocation
#fnaf5 #fandroid #fandroidmusic #griffinilla #fandom

Griffinilla (Fandroid Music) - Below the Surface [NIGHT CORE / SPED UP]

Niccolo Paganini - Sonata for violin & guitar in A major, MS 11-6

Suggests 3MDR’s Tony Bates “Cicadas & Roses is a beautifully crafted and presented album. Holden’s ‘ownership’ of the classics recorded is amazing!”

Cicadas & Roses is being serviced to media this month.

http://www.undercovermusic.com.au/marcus_holden.htm

Caprice No. 24 in A Minor (Nicolo Paganini) - Marcus Holden

Antonín Dvořák - Romantic Pieces op. 75, I. Allegro moderato

Liebestraum No. 3 in A-Flat Major - Franz Liszt

"Arlekīna serenāde", dzied tenors Pauls Sakss

Millions d’Arlequin. Sérénade / Riccardo Drigo

Live in concert at Frederick Loewe Theatre on October 24, 2014.

Caprice in A Minor by Henryk Wieniawski

Brahms Hungarian Dance No 5 arranged for string quartet. The sheet music available at www.musicforstrings.com

Brahms Hungarian Dance 5 string quartet

Music: Scherzo Tarantelle, Op. 16
Composer: Henryk Wieniawski
Artists: Piet Koornhof, violin; Bernarda Vorster, piano;
Album: On Fire: The Virtuoso Violin
Label: Delos Productions - DE3479
Street Date: February 12, 2016

“...the elegance and immaculate suaveness of a Heifetz or Oistrakh” — Natal Daily News

Distinguished South African violinist Piet Koornhof’s third recording for Delos highlights (in keeping with the title) virtuoso showpieces for his instrument, both well-known and rare.

In this 2-CD set, Piet tackles some of the most brilliant and technically challenging repertoire for violin ever written. We hear glittering masterpieces by fabled masters of the instrument: Henryk Wienawski, Fritz Kreisler, and Eugene Ÿsaye. On the more rarely performed side, we get highly worthwhile violin treasures by, among others, Glazunov, Kroll, Taneyev, Rota, and Karayev – as well as a particularly fascinating cycle by Eduard Toldrà.

Piet’s jaw-dropping virtuosity and  ery interpretations are sensitively supported by his compatriot, pianist Bernarda Vorster. Together they have crafted a beautifully performed program that will appeal in particular to violinists and fans of the instrument, as well as an awe- inspiring listening experience for the rest of us.

On Fire: The Virtuoso Violin

Scherzo Tarantelle, Op. 16

Henryk Wieniawski: Scherzo Tarantelle, Op. 16

آهنگ روسی والس جدایی

صدای وزش بادهای مضطرب را می‌شنوی؟
زمان جدایی فرا رسیده است
جنگل الوان و رنگارنگ به دور سرمان می‌چرخد و می‌چرخد
و ما به آهنگ یک والس قدیمی و فراموش شده می‌رقصیم و می‌چرخیم

وقتی مسیر سرنوشت را طی می‌کنی
این سرزمین دوردست
این رودخانه و ساحل ماسه‌ای اش
و این رقص والس آرام را از یاد مبر

ما جدا می شویم که دوباره به هم برسیم
عشق جاودانه است و می‌ماند
نخستین برگ پاییزی چرخ می‌خورد و می‌افتد
و همان رقص والس دوران جوانی، در خاطرمان می‌چرخد و می‌چرخد

نسیم وزان، زلف بر باد می‌دهد
این موسیقی، به سرنوشت ما می‌ماند
برف می‌بارد و صورتمان را گرم می‌کند
و در دل، همان والس قدیمی، همچنان می‌چرخد و می‌چرخد

توضیحات  و لینک دانلود ویدئو و فایل صوتی
http://www.iloverussia.ir/vals_rasstavaniya/

ترجمه: بهروز بهادری فر


Yan Frenkel - Parting Waltz (Vals Rasstavaniya)

PRODUCED BY @IAMSMYLEZ I PUT MY OWN SPIN ON J COLE'S WET DREAM. LISTEN LIKE SHARE TELL ME WHAT YOU THINK. PS I AM NOT JUST A DRILL RAPPER

White Night -  Soulmate (IAMSMYLEZ)

A track from our CD entitled "Duets"  featuring David Lisker and Bela Horvath on violins.  To purchase this or any other track on the album please visit:

http://itunes.apple.com/us/album/suite-for-2-violins-piano/id420977583?i=420977705&ign-mpt=uo%3D4

Wieniawski Caprice no. 4 for 2 violins

Henryk Wieniawski

Legende Op. 17 for violin and piano

Andante - Moderato maestoso - Andante

Julius Aria Sahbai, violin
Aniele Steininger, piano

© 2016

Henryk Wieniawski - Legende Op. 17 for violin and piano

“Is very intimate now. Shhhhhh.” Vladimir Horowitz once said to his audience before performing Chopin’s Mazurka in A minor, Op. 17, No. 4. 

With fifty-eight to his name, how could one of Chopin’s Mazurkas be crowned “the most beautiful”? Some go so far as to say it’s his most beautiful composition, let alone Mazurka.

His students dubbed this Mazurka in A minor, "The Mourner’s Face." For once, Chopin didn’t object. It feels for all the world like a Nocturne; the dance impulse defines it as a Mazurka. Chopin composed it in May, 1834. It’s the final of four in the Opus 17 set which he dedicated to Madame Lina Freppa, an aspiring singer whose salon Chopin frequented. The set opens in a swashbuckling manner. Biographer Fredrick Niecks dubbed the second of the four, "The Request." Chivalry, bold or not, consistent with Chopin has manners. Then the third follows: it radiates anguish, heartache and someone not able make up his mind what is the best thing to do. Then, after these first three mazurka’s of the set, comes, as Vladimir Horowitz said, a “very intimate” moment.  Silentio!

The music in this Mazurka emerges from silence and to silence returns, beginning and ending sotto voce. It opens with four mysterious bars filled with the music of chords that seem unaware of their further course. They are followed by an unforgettable theme played espressivo, without doubt of Cuiavian provenance. But this is not a cliché or a mirror; it is a nostalgic recollection, something like an awakening from slumber or deep cogitation, seeking a path, timidly, hesitantly. This theme returns a couple of times, interleaved by different music – more concrete and real. Each time, it returns the same, yet not the same; endlessly modified, yet always retaining that dreamy aura. This ‘cogitation’ of the principal theme is twice interrupted. First with a couple of bars of music that all of a sudden is markedly lively and dance-like. Perhaps we are beholding the reflection of some dance played in Szafarnia?

The second entrance of different music brings a new mood: in the bright key of A major, the motif of a mazurka comes in. Chopin has it played at first dolce (gently). But its ambling mazur melody is led along over an insistently repeated – for thirty bars – bass fifth, and in places even two fifths. And that motif is repeated ad infinitum, not insistently, but obsessively… up to the point of climax, but also of revolt, protest or outcry. And then – again timidly, hesitantly – we return to the opening motif, to the spinning out of the intermittent melody of that oneiric kujawiak. This is followed by just a couple of bars of an epilogue that dies away and – the return of the opening bars, with their unresolved question mark.

The Mazurka in A minor has caused monographers and Chopin scholars quite some difficulty on account of the legend that surrounds it. The work’s origins were linked with certain passages in letters sent by the fourteen-year-old Chopin from Szafarnia, in which he gave accounts of the impression he made when playing a dance that he called ‘Żydek’ [The little Jew]. Family tradition linked that dance with the A minor Mazurka.  Well, even if the ‘Jewish’ legend is true, as it certainly may be, we must separate – as two different works or two different versions of one work – that youthful stylisation or cliché from the work composed seven or eight years later, in Paris – a masterly work that is a far cry from all imitation. It is hard to deny that music heard in Szafarnia, Mazovia or Cuiavia does indeed peep through the music of the A minor Mazurka. But it does only peep – as a distant echo, a movingly nostalgic recollection, highly original and personal.

Sources: Wikipedia, The Chopin institute: Mieczysław Tomaszewski

Frédéric Chopin!  Mazurka op. 17 no. 4 in a minor “The Mourner’s face”

Bal Dar Bal (Live in Köoln)

Bal Dar Bal

Live recording from my third year recital, University of Nottingham (Jan 2016).

Zigeunerweisen (Gypsy Airs), Op. 20 - Pablo de Sarasate

H. Wieniawski - Caprice "La Cadenza", Agnieszka Mastalerz

Boccherini - Morceaux Op. 10 No. 2 Humoresque In G Minor Menuet

Excerpt of Brahms' Symphony No. 3 - III. Poco Allegretto.   For demonstration purposes only.

Brahms: Symphony No. 3 - III Poco Allegretto - excerpt

Henryk Wieniawski Souvenir du Moscou, Op. 6

Live performance - June 9, 2012 - Dimenna Center - Norman S. Benzaquen Hall

David Gale, violin
Riko Higuma, piano

Henryk Wieniawski Souvenir du Moscou, Op. 6

Brahms - Brahms - Hungarian Dance No. 5

Henryk Wieniawski - Romance sans paroles op. 9

Henryk Wieniawski - Violin Concerto No. 2 in D minor, Op. 22

Henryk Wieniawski - Fantaisie Brillante Sur Faust de Gounod op. 20

Henryk Wieniawski - Gigue in E Minor op. 23

Top 50 Most Popular Classical

Das Lied der Geige, Op. 2 (Jan Schebek)

02 - Brigadoon  Almost Like Being In Love (arr. E. - C. Barlow For Voice, Band And Strings)

Czardas (Monti; arr. Primatic)

Title: Serenade from Les millions d'Arlequin

Alternate titles:
- Sérénade from Harlequinade
- Notturno d'amore from I Milioni di Arlecchino

Instrumentation: Flute and Piano

Riccardo Eugenio Drigo
(1846 - 1930)

~*~*~*~*~*~*~
Artist: Agrita Lakute, Flute
~*~*~*~*~*~*~

Les millions d'Arlequin (or Harlequinade) is a ballet in two acts with libretto and choreography by Marius Petipa and music by Italian composer Riccardo Drigo. It was first presented in St. Petersburg, Russia in 1900.

Drigo's score spawned the popular salon repertory piece known as the Serenade, which the composer later re-wrote as a song called Nuttorno d'amore for Beniamino Gigli. The Serenade has since been arranged for every conceivable instrument, particularly the violin and piano.

Follow me on SoundCloud:
www.soundcloud.com/agrita

Follow me on YouTube:
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"Serenade" from Les millions d'Arlequin

Trio Dinicu: Luanne Homzy, Tommy Davy, Marlon Martinez

Czardas Monti (V. Monti)

Gabriel Croitoru (Guarneri) and Liviu Prunaru (Stradivari) play Wieniawski Caprice no.1 for 2 violins as encore at the Radio, on the 9th of April, 2013

Wieniawski: Caprice for 2 violins no.1

En Pianos Di Franco encontrarás la mejor elección en tu compra de pianos nuevos y seminuevos.

Una canción de piano triste.

“One of the violin greats of our era” (Newhouse News), Stephanie Chase’s triumphant win at the Tchaikovsky Competition in Moscow has led to an international career with concert performances in twenty-five countries and a prestigious Avery Fisher Career Grant. As soloist, Ms. Chase has appeared with the world’s most illustrious orchestras, among them the New York Philharmonic, Chicago Symphony, London Symphony, American Classical Orchestra, National Symphony (Mexico), Hanover Band, San Francisco Symphony, and Hong Kong Philharmonic, and her playing is widely acclaimed for its "elegance, dexterity, rhythmic vitality and great imagination" (Boston Globe). Conductors with whom she has collaborated include Marin Alsop, Leonard Slatkin, Enrique Diemecke, and Zubin Mehta.

Her appearances in 2013 and 2014 include solos with the symphony orchestras of Long Beach, Monterrey (Mexico), Yucatan, Eastern Connecticut, Seattle Collaborative and the Stanford Philharmonia, plus the Boulder Chamber Orchestra and features on Sirius Radio. She played recitals at the 92nd Street Y in New York and at Bargemusic, Williams College and Dickinson College and was a featured artist in chamber concerts by Music in Context, the Music of the Spheres Society, and the Bronx Arts Ensemble.  In recent seasons her rendition of Elgar's Violin Concerto (with the Louisville Orchestra) was selected as a “Classical Act of the Decade” and her New York recital with pianist Sara Davis Buechner was chosen as one of "20 Concerts to Hear this Fall" by WQXR and a “Critics' Choice” by Musical America.

A specialist in Beethoven’s music, Stephanie Chase made the first recording ever of his Violin Concerto and Romances on period instruments, which features her own cadenzas and has been declared “one of the twenty most outstanding performances in the work’s recording history” (Beethoven: Violin Concerto, Cambridge University Press) and honored with the highest possible ratings by BBC Music Magazine and Classic CD. She has also premiered music by composers that include Joan Tower, Earl Kim, Edward Applebaum, Yehudi Wyner, Richard Pearson Thomas, and Taavo Virkhaus.

Born in Illinois to musician parents, Ms. Chase gave her first public perrformance at age two and made her debut with the Chicago Symphony at nine, as the youngest winner ever of the orchestra's Youth Competition. After her Carnegie Hall debut at age eighteen, she became a favorite pupil of the legendary Belgian violinist Arthur Grumiaux and subsequently studied chamber music at the Marlboro Festival.

In addition to her solo appearances, Ms. Chase is a guest of illustrious music festivals worldwide, including Caramoor, Music from Marlboro, Bravo! Vail, Bargemusic, Sommerfest (Minnesota Orchestra), Kuhmo (Finland), and Nuits de Bourgogne, and she has toured internationally and recorded with the Boston Chamber Music Society.

Recordings by Ms. Chase, for Koch International Classics, Cala Records and Harmonia Mundi, have been designated “To Die For” by Stereophile and “Record of the Month” by Classic CD. As a music educator, she gives master classes throughout the United States and teaches violin at New York University’s Steinhardt School. She is also the co-founder and Artistic Director of the Music of the Spheres Society, which is “dedicated to exploring the links between music, philosophy and the sciences” (The New Yorker) and an accomplished music arranger whose string orchestra versions of virtuoso violin music are performed by the Perlman Chamber Orchestra and recorded by The American String Project on MSR Classics.

Stephanie Chase plays a violin made in 1742 by Petrus Guarnerius, which she pairs with a bow by Dominique Peccatte. For additional information about Ms. Chase, please visit her website at www.stephaniechase.com

Caprice in A Minor by Henryk Wieniawski

Stephanie_Chase