Violinist John Vaida & Violist Amy Iwazumi, co-founders of the NEPA Chamber Music Society, speaking about "Tempestuous Harmony", a pair of concerts featuring Piano Quartets by Mozart & Richard Strauss, to be presented Saturday, January 7, 2023 at 7 pm at St. Stephen's Episcopal Church, 35 S. Franklin Street in downtown Wilkes-Barre. Also Sunday, January 8 at 4 pm, at the First Presbyterian Church of Clarks Summit, 300 School Street.  Bryan Hayslett will be the cellist & Brian Farrell the pianist.
For more information: www.nepacms.org/

John Vaida; Amy Iwazumi; January 3 2023

Mozart Pastoral Variée. Herma Menth 1919 On Duo - Art 6175.
Reproduced Feb 27, 2023 from playback of the digitally simulated reconstructed original reproducing piano roll by VViljanen, using a modelled Grand Blüthner revoiced and modified by VV
Photo: Herma Menth (1890-1968) in 1923.
Menth was from was a pianist from Vienna. She lived in New York City and toured the U.S. She was a student of Ferruccio Busoni and Emil Sauer.
enth played in New York in 1912.[1] In the spring of 1918, Menth toured Pennsylvania and Virginia, including a stop at Camp Lee with American violinist Vera Barstow, to play for American troops.[4] She and Barstow played gave more concerts for troops at Ellis Island and Camp Upton, sponsored by the Stage Women's War Relief Society and the Jewish War Relief Society.[5] She also gave wartime benefit concerts at the Brooklyn Museum during World War II.[6]

Menth played at the Hollywood Bowl in 1923. [3] A New York Times reviewer described her as "a pianist of the most varied resources", because of the difficult program selections she set for her 1927 recital in New York, with works from Liszt and Mendelssohn to Scriabin and Dohnányi.[7] She lived in New York, and played there often, including recitals in 1929,[8] and in 1944,[9] and at Carnegie Hall several times in the 1950s.[10]

Menth made many piano roll recordings, and promoted the Angelus Reproducing Piano.[11][12] One feature of her performances in the 1920s was a duet with herself, using a piano roll recording for the second piano, or "comparison pieces", in which she played live to fill gaps in a recording. She also gave radio concerts where the listeners were challenged to guess which pieces were recorded and which were live.[3][13]

Menth made her final performing tour of the eastern United States in 1966.[14]
Herma Menth was an avid cyclist and swimmer into her fifties.[15] By 1911[16] she married Moritz Stoehr, a Viennese professor of bacteriology at the College of Mount Saint Vincent and invented a new keyboard,[17][18] and a "music typewriter" for transcribing and transposing music.[19] They lived in separate, adjacent apartments, an arrangement that was considered newsworthy.[20] She died in 1968, aged 77 years, in New York.[2]
(Source: Wikipedia)

Info* of the original piano roll:
PASTORALE VARIEE
Roll Number: 6175, 6175
Composer/Creator: Mozart
Pianist: Menth
Roll System: Duo-Art
Country: US
Date: September, 1919
Category: popular, salon
Original Price: n/a
*Info source: The Player Piano Group web page (by permission)

Pastoral variée

W.A. Mozart: Pastoral Variée KV2 [Anh 209b]. Herma Menth 1919 on Duo-Art 6175

This is my re-interpretation of famous song from Mozart "Rondo' a la Turca" or commonly known as Turkish March. I tried to re-arrange this composition with a bit of an extra  jazz /latin  feel  and then boosting a bit the melody with  a bit of swing too . Something I can actually play with my people on the beach in a less formal way than usual.

Mozart Goes Gipsy

Light work fr no days off
We workin': BenEttedgui@gmail.com - Beats+

Ben The Defiler [Prod. Ben Ettedgui]

For April Fools, here's Leck Mich Im Arsch (Lick me in the ass ["Kiss my ass"]) by W.A. Mozart (1756 - 1791) on the Organ.

Enjoy. 😊

Special Thanks to the following members for supporting me on BMC (Buy Me a Coffee):

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If you enjoy my content as much as they do and myself, then join them here or buy me a coffee: http://www.buymeacoffee.com/jonnymusic

Premium Sheet Music:
- https://www.sheetmusicdirect.com/en-US/se/ID_No/1304403/Product.aspx
- https://www.sheetmusicplus.com/title/22477786

Sheet Music/MIDI file: https://musescore.com/user/6795656/scores/10333270

Looking for a home organ for practicing, etc.? Whether you need an organ with one, two or even three manuals, MIDIWorks has you covered with the Cantorum line of portable digital organs from Viscount. All I ask is that if you decide to purchase any of them from either the US or Canadian online stores when you get to the "Affiliate/Consultant" part of the checkout process, please make sure to select "JONNY" from the drop-down list to let the folks at MIDIWorks know that I sent you. Happy practicing!

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Audio exported from Finale with Hauptwerk VII via VST Link (played on the Casavant, opus 3742 (1995), Bellevue, Washington VPO)

Audio mastered with Adobe Audition CC

A Public Domain Piece

Cover ©2023 Jonny Music

Leck Mich Im Arsch (W.A. Mozart) Organ Cover

For April Fools, here's Leck Mich Im Arsch (Lick me in the ass ["Kiss my ass"]) by W.A. Mozart (1756 - 1791) on the Organ. The duet version.

Enjoy. 😊

Special Thanks to the following members for supporting me on BMC (Buy Me a Coffee):

[Ultimate Fan] Juke Denton & Wouter

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If you enjoy my content as much as they do and myself, then join them here or buy me a coffee: http://www.buymeacoffee.com/jonnymusic

Premium Sheet Music:
- https://www.sheetmusicdirect.com/en-US/se/ID_No/1304404/Product.aspx
- https://www.sheetmusicplus.com/title/22477788

Sheet Music/MIDI file: https://musescore.com/user/6795656/scores/10333336

Looking for a home organ for practicing, etc.? Whether you need an organ with one, two or even three manuals, MIDIWorks has you covered with the Cantorum line of portable digital organs from Viscount. All I ask is that if you decide to purchase any of them from either the US or Canadian online stores when you get to the "Affiliate/Consultant" part of the checkout process, please make sure to select "JONNY" from the drop-down list to let the folks at MIDIWorks know that I sent you. Happy practicing!

US Store: https://us.midiworks.ca/index.php/products?route=product/category&path=68
Canada Store: https://midiworks.ca/index.php/products?route=product/category&path=68

Gear used (Amazon Affiliate Link):

MIDI Keyboard:

CA: http://amzn.to/2F3rPQQ
US: http://amzn.to/2nFWWec
UK: http://amzn.to/2q4aoMk

Please use my Amazon Affiliate links to help support this channel and help me continue making great content for you. It doesn't cost you anything extra, and a few pennies from your purchase will help to keep me going and producing more videos. I appreciate your support!

Audio exported from Finale with Hauptwerk VII via VST Link (played on the Casavant, opus 3742 (1995), Bellevue, Washington VPO)

Audio mastered with Adobe Audition CC

A Public Domain Piece

Cover ©2023 Jonny Music

Leck Mich Im Arsch (W.A. Mozart) Organ Cover [Duet Version]

Opera buffa in quattro k.492 su libretto di Lorenzo da Ponte.Prima rappresentazione: Vienna, BurgTheater, 1 Maggio 1786
Figaro - Sesto Bruscantini
Susanna - Teresa Stratas
Conte Almaviva - Mario Petri
Contessa Almaviva - Sena Jurinac
Cherubino - Teresa Berganza
Marcellina - Nucci Condò
Bartolo - Giorgio Tadeo
Basilio - Agostino Lazzari
Curzio - Angelo Degl' Innocenti
Antonio - Alfredo Mariotti
Barbarina - Lilia Teresita Reyes
Orchestra e Coro di Roma della RAI
Direttore Zubin Mehta
live rec. 1968

W.A.Mozart: "Le Nozze Di Figaro" -(1 maggio 1786)

Gundula janowitz ( 2 agosto 1937)
W.A.Mozart: le nozze di Figaro
José van Dam (Figaro)
Mirella Freni (Susanna)
Tom Krause (Conte)
Gundula Janowitz (Contessa)
Federica von Stade (Cherubino)
Jane Berbié (Marcellina)
Kurt Moll (Bartolo)
Michel Sénéchal (Basilio)
Danièle Perriers (Barbarina)
Jacques Loreau (Curzio)
Carl Schultz (Antonio)

Choeurs de l'Opéra de Paris
Orchestre de l'Opéra de Paris
Georg Solti

Gundula Janowitz ne W.A.Mozart: "Le nozze di Figaro"

WOLFGANG AMADEUS MOZART (REMASTERED) (Official Release: coming very soon):
► Spotify: very soon
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You can listen now the Rough Mix. In few days we public the new version of WAM.

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Wolfgang Amadeus Mozart

X-Teknokore - Wolfgang Amadeus Mozart (Remastered)

Eine Stunde Klassik! Plich spielt Mozart live im Movimento München

Der Münchner Pianist und "Musikdurchdringer" Jürgen Plich stellt jeden Dienstag um 20 Uhr große klassische Musik vor. Er teilt seine Hör- und Spielerfahrung und seine persönliche Sicht auf die Meisterwerke. Er spielt selbst besondere, unbekannte Aufnahmen, erklärt, warum die Musik so und nicht anders klingt und hat eine Menge aus dem Leben der Komponisten zu erzählen.

Sonntags um 10 Uhr in der Wiederholung.

Eine Stunde Klassik: Plich spielt Mozart live im Movimento München

Eine Stunde Klassik! Plich spielt Mozart live im Movimento München - Teil II

Der Münchner Pianist und "Musikdurchdringer" Jürgen Plich stellt jeden Dienstag um 20 Uhr große klassische Musik vor. Er teilt seine Hör- und Spielerfahrung und seine persönliche Sicht auf die Meisterwerke. Er spielt selbst besondere, unbekannte Aufnahmen, erklärt, warum die Musik so und nicht anders klingt und hat eine Menge aus dem Leben der Komponisten zu erzählen.

Sonntags um 10 Uhr in der Wiederholung.

Eine Stunde Klassik! Plich spielt Mozart live im Movimento München - Teil II

Die Beschäftigung des Salzburger Geigers Benjamin Schmid mit dem Violinwerk W.A. Mozarts dauert nun schon mehr als vier Jahrzehnte an, wurde anfangs von den damaligen Mozarteums-Professoren Sándor Végh und Nikolaus Harnoncourt geprägt und erfuhr mit zunehmender Personalisierung seines Interpretationsstils zahlreiche Auszeichnungen. Auch seine erste CD-Einspielung im Jahre 1990 mit Mozarts Violinkonzerten Nr. 1 und 2 mit dem Mozarteumorchester Salzburg unter Hans Graf wurden von der Kritik als Entdeckung gefeiert. 32 Jahre und hunderte Aufführungen später komplettiert Benjamin Schmid nun seine Aufnahmen der Violinkonzerte mit dem schwedischen Orchester Musica Vitae, dessen musikalische Leitung er seit vergangenem Jahr innehat, und beschreibt seinen Weg mit folgenden Worten: „Als ein in Wien und Salzburg aufgewachsener Geiger war Mozart letztlich für mich immer der wichtigste Komponist; diese Vorliebe habe ich schon im Volksschulalter definiert, und das Interesse wuchs mit der Entdeckung des Gesamtwerks dieses vermutlich zumindest begabtesten aller Komponisten. Für mich liegt der Schlüssel zur Mozartinterpretation in der Dualität des Singens und der Klangrede; Gesang als unmittelbare Emotion sowie Phrasierung und Artikulation als formgebende Grammatik.“

Benjamin Schmid & Orchestra Musica Vitae - Konzert für Violine & Orchester Nr. 3 G-Dur KV 216

W.A.Mozart:"Lucio Silla"
Dramma per musica in tre atti su libretto di Giovanni De Gamerra. Prima rappresentazione: Milano, Teatro Ducale, 26 dicembre 1772.
Lucia Silla:    Thomas Moser
Giunia:    Edita Gruberova
Cecilio:    Ann Murray
Celia:    Eva Lind
Cinna:    Yvonne Kenny
Aufidio:    Peter Jelosits
Chor und Orchester der Wiener Staatsoper
Arnold Östman
Wiener Staatsoper, 20. Jänner 1991

W.A.Mozart:"Lucio Silla" ( Vienna, 1991)

Wolfgang Amadeus Mozart - Overture to The Marriage of Figaro for Bassoon Choir (excerpt)

Featured on the Chamber Music Society's live performance in Alice Tully Hall on the WFMT Radio Network:

Serenade in E-flat major for Winds, K. 375

Wolfgang Amadeus Mozart, composer
Stephen Taylor, oboe
James Austin Smith, oboe
David Shifrin, clarinet
Romie de Guise-Langlois, clarinet
Bram van Sambeek, bassoon
Peter Kolkay, bassoon
Radovan Vlatković, horn
Trevor Nuckols, horn

Program Notes: 

The Serenade in E-flat major, K. 375, exists today in two versions: a sextet of two clarinets, two bassoons, and two horns, and an octet that adds two oboes. The sextet came first, finished in October 1781 and premiered on the 15th at the home of Viennese court painter Joseph Hickel. Mozart documented what happened next in a letter to his father later that month:

"At 11 o’clock at night I was serenaded by two clarinets, two horns, and two bassoons playing my own music: I had written it for St. Theresa’s Day for Frau von Hickel’s sister, or rather the sister-in-law of Herr von Hickel, the court painter, at whose house it was performed for the first time. The six gentlemen who executed it are poor beggars who play together quite nicely all the same, especially the first clarinetist and the two horn players. But my chief reason for writing it was to let Herr von Strack, who goes there every day, hear something of my composition. And so I composed it rather carefully. It was well received, too, and played at three different places on St. Theresa’s Night, because when they had finished it in one place they were taken somewhere else and paid to play it again. And so these musicians had the front gate opened for them, and when they had formed up in the yard, they gave me, just as I was about to undress for bed, the most delightful surprise in the world with the opening E-flat chord. (Excerpted from New York Philharmonic program notes)"

The octet came the following year as Mozart’s attempt to get his music played at the imperial court (although William Mann suggests it was actually Prince Aloys Liechtenstein whose band first played both this and the contemporaneous Serenade in C-minor). Emperor Joseph II had established a Harmoniemusik ensemble at his court, creating a rush to compose new music for this ensemble. These usually consisted of pairs of wind instruments, often oboes, clarinets, French horns, and bassoons, as in this work, although basset horns and English horns sometimes also appeared. Very often they were used for light entertainment at parties (Mozart has one playing in the background during the ballroom scene of his 1787 opera Don Giovanni) or even to accompany the imperial supper. They were ideal for outdoor performances: many of the contemporary serenades written for Harmoniemusik were intended to be played outdoors, even with the musicians on the move as Mozart’s letter suggests.

This serenade is in five movements, all of which begin and end in e-flat. It begins with a rather impulsive allegro that regularly shifts moods and character and is anchored by the e-flat chords that Mozart mentions in his letter. The first of the two menuettos is fitting with the character of the contemporary dance, stately and built around easily identifiable melodies, but with some chromatic twists. The central adagio is a delicate sonatina that achieves full bloom in its recapitulation. The second menuetto begins energetic and turns pensive in its trio.  The finale blazes with enthusiasm to its final note.

Mozart Chamber Music for Winds

Mozart: Serenade in E-flat major, K. 375 ｜Radovan Vlatković, Trevor Nuckols, CMS Winds (Live)

Organ Cover Artist & Music Arranger.

I aim to create the World's Largest Organ Arrangements Library/Collection. You can already see the work I'm putting here, plus the sheet music I create and distribute for free over on Musescore.

Hailed by the New York Times as "Outstanding" and an "Excellent Soloist", horn player Trevor Nuckols performs as a leading soloist, chamber musician, and orchestral performer across the globe. He won the Gold Medal at the Vienna International Music Competition, First Prize at the International Horn Society's Premiere Soloist Competition, the North International Music Competition, Music Academy of the West Concerto Competition, and the Juilliard Concerto Competition. He is a recipient of the International Horn Society's Barry Tuckwell Award, Sylff Fellowship, Kovner Fellowship, and Interlochen's Young Artist Award. 

Nuckols has performed & recorded as solo horn of the Münchener Kammerorchester & with the Chamber Music Society of Lincoln Center. He has performed as guest principal horn with the Boston Symphony Orchestra, Saint Paul Chamber Orchestra, Bad Reinchenhall Philharmoniker, and the Philharmonie Salzburg. He received his training at the Marlboro Music Festival, Tanglewood Music Center, Pacific Music Festival, & the Lucerne Festival. He has taught master classes at Seoul National University, Tokyo College of Music, New York University, and the University of Cartagena.

Nuckols is a graduate of Interlochen Arts Academy, earned his Bachelor & Master of Music degrees from The Juilliard School, and received a Postgraduate Diploma from the Universität Mozarteum Salzburg. His teachers include Michael Corcoran, Gene Berger, R. J. Kelley, Jens McManama, & Radovan Vlatković. He performs exclusively on a custom Alexander B flat horn and a Raoux Millereau.

Als österreichischer Ableger des tschechisch/englischen Schallplattenproduzenten gleichen Namens wurde Gramola im Jahr 1924 in Wien gegründet und ist seit damals in allen Tätigkeitsbereichen rund um die Klassische Musik aktiv. Der Schwerpunkt hat sich in den letzten Jahren auf die CD-Produktion verlagert und Gramola ist mit etwa 30 Produktionen jährlich schon seit einiger Zeit Österreichs Klassikproduzent mit der höchsten Produktionsrate. Gramola hatte zunächst natürlich die großen Komponisten der Wiener Klassik, wie Haydn, Mozart, Beethoven und Schubert, im Focus. Im Vordergrund der Produktionsaktivitäten steht jetzt aber auch die Förderung junger österreichischer Musiker und nicht zuletzt die Zusammenarbeit mit "Exilarte", die sich der Musik ermordeter und exilierter Komponisten widmet.

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My warmest thanks to everyone stopping by for listening to my  'REVIEW   OF THE PAST TIME PIANISTS' INTERPRETATIONS ON THE HISTORICAL PIANO ROLLS, and also to a small LIST of MY MODEST OWN RENDITIONS, all of the latter representing a variety of piano music & some pipe-organ classics, - and  TO THE Growing LISTS OF (just lately done and reproduced)  TRANSCRIPTIONS OF VARIOUS CHAMBER MUSIC CLASSICAL PEARLS FOR TWO PIANOS.
A HEADSET IS RECOMMENDED for optimal sound experience!
This kind of 'touching' on these old pre-sound-rec. era works by the great performers of the past, and giving my sound to these old 'punch rolls',  makes me feel  deep humbleness, .and I wish that this modest attempt to bring these  performances alive will satisfy you listening to them!
To introduce myself...
I am a Finnish M.D., PhD. and Hand Surgeon (now retired), previously when young with 10 years of professionally orientated piano studies at Turku Conservatory in 1965-1975, partly  along with medical University studies. 
The digital sound techniques have become very familiar to me already from 1980's along with my university research work  
and my musical activities.
As continuation to my musical and professional experience, I have, during the last few years of my retirement, adopted a music historical challenge
to bring the past time major and minor pianists, prior to sound-recording era, onto the same 'start line' with the present pianists, by making their presentations, played onto 'punch rolls' i.e. piano rolls, audible with modern digital techniques. This wouldn't be possible without the pioneering  efforts of Richard Stibbons, Wayne Stahnke, Terry Smythe, Warren Trachtman, Spencer Chase, and others, who developed the optical digitizing techniques of the piano rolls, and digitized them.

The main part of my recordings here in SC consists of selection recorded by me from optically digitized piano-rolls** (from 1910's on or earlier, classical and 'vintage era'). These recordings of mine are not and will not be commercially unavailable. - The rolls were first optically scanned and converted into a digital form by diverse operators** (see also to the info of each piece). The pieces here were partly (minor part) picked from various open net sources, publicly available, but mainly from the huge archive (n=ca.5000) of digitized copies copies of the original reproducing piano rolls, made available to me by one of the pioneers of roll digitizing tehchniques (willing to keep anonymous), and then recorded from this archive mainly with virtual grand piano (called by me 'Bluethner Model One') modified/re-designed by me, as well as the rec settings. 
Also a minor selection of my own renditions among my records can be found here, included on my playlist 'Bach Goes Virtual', the name of the list telling something about the techniques used for getting the end result... The list includes various organ works by J.S.Bach and others, and also a few piano renditions of mine. Then there are included also various pieces which have been in my repertoire, but here played mainly by the  'guest' great players of the past (before the sound recording era).
MY MOST HUMBLE THANKS TO THE NOBLE DONOR  OF THIS INVALUABLE PIANO ROLL MATERIAL FOR MY USE!!!
My Sincere Thanks also to The Player Piano Group, UK, for providing me their permission to use the information about the piano rolls collected and provided on their web page ( https://rolls.playerpianogroup.org.uk ),  and for simplifying my short historical presentations of these renditions on their re-publication here!
AND LAST BUT NOT LEAST, MY MOST HUMBLE THANKS TO EVERYONE  OF YOU FOR LISTENING, AND FOR YOUR 'LIKES' & COMMENTS !
YOUR LISTENING & FEEDBACK IS TRULY APPRECIATED..!!.
Use of good headphones or speakers will make your music experience more enjoyable!
Best wishes, all the best
Veikko
These recordings are not commercially available, and ANY KIND OF THEIR COMMERCIAL USE IS PROHIBITED.

Rave is Pain (Hardcore Album & Book Release): 28/06/2024
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New tracks tagged #Wolfgang Amadeus Mozart