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푸른 하늘처럼 맑은 클래식 태교 음악 (명품 클래식) Clear Classical Music (Blue Classical)

Tchaikovsky: Violin Concerto In D Major Op.35 - I. Allegro Moderato-Moderato Assai

학생들의 피로를 풀어주는 공부 클래식 모음 Study Helper - Classical Study Collection For Students To Relieve Fatigue (학생들의 피로를 풀어주는 공부 클래식 모음)

Lalo: Symphonie Espagnole In D Minor Op.21 - II. Scherzando. Allegro Molto

힐링을 위한 바이올린 협주곡 모음집 Violin Concerto For Healing

Tchaikovsky: Violin Concerto In D Major Op.35 - II. Canzonetta. Andante

오늘은 클래식이 끌리는 날 (명상 클래식) Today Is The Day When Classics Are Attracted (Meditation Classics)

Tchaikovsky: Violin Concerto In D Major Op.35 - III. Finale. Allegro Vivacissimo

Wolfgang Amadeus Mozart, Vol. 1

Symphony No.40 in G Minor, K 550 - I. Molto Allegro

Spotify

Ansermet Conducts Lalo, Chabrier and Fauré

Lalo Symphonie Espagnole, Op.21 - 3. Intermezzo (Allegretto Non Troppo)

Lalo Symphonie Espagnole, Op.21 - 1. Allegro Non Troppo

Lalo Symphonie Espagnole, Op.21 - 4. Andante

Lalo Symphonie Espagnole, Op.21 - 5. Rondo (Allegro)

04 - Ludwig van Beethoven  - Sonata for Piano and Violin in C minor, op. 30 no.2 – IV.Finale. Allegro – Presto

02 - Ludwig van Beethoven  - Sonata for Piano and Violin in C minor, op. 30 no.2 – II. Adagio cantabile

01 - Ludwig van Beethoven  - Sonata for Piano and Violin in C minor, op. 30 no.2 – I. Allegro con brio

Recorded at Slowdeath Studios Ltd.

Soloist: Felipe Hernández.

The 24 Caprices for Solo Violin, Op. 1, were written by Niccolò Paganini between 1802 and 1817 and published in 1819.[1] They are also designated as M.S. 25 in Maria Rosa Moretti and Anna Sorrento's Catalogo tematico delle musiche di Niccolò Paganini, which was published in 1982. The caprices are in the form of études, with each number studying individual skills (double stopped trills, extremely fast switching of positions and strings, etc.)

Edition Peters first published them in 1819; Ricordi later published another edition in 1821. When Paganini released his caprices, he dedicated them "to the Artists" rather than to a specific person.

Unlike many earlier and later sets of 24 pieces, there was no intention to write these caprices in 24 different keys.

Caprice No. 1 in E major - Andante: Nicknamed "L'Arpeggio", this composition matches chordal playing with ricochet across all 4 strings. The piece opens in E Major and then quickly transitions into an E minor development section, where descending scales in thirds are introduced.

Caprice No. 2 in B minor - Moderato: The second caprice in B minor focuses on detache with many string crossings across non-adjacent strings.

Caprice No. 3 in E minor - Sostenuto - Presto - Sostenuto: Caprice No. 3 is a slurred legato exercise with octave trills in the introduction and conclusion.

Caprice No. 4 in C minor - Maestoso; Caprice No. 4 is an exercise featuring passages with many multiple stops.

Caprice No. 5 in A minor - Agitato: This caprice focuses on fast ricochet bowings. It begins and ends with a section of ascending arpeggios followed by descending scales.

Caprice No. 6 in G minor - Lento: Nicknamed "The Trill", the sixth caprice exploits the use of left-hand tremolo on the violin by quickly alternating between different notes in the chord in one of the voices. A melody is played in one line with a tremolo occurring on another.

Caprice No. 7 in A minor - Posato: This caprice focuses on slurred staccato passages, featuring many long slurred scales and arpeggios.

Caprice No. 8 in E-flat major - Maestoso: Caprice No. 8 focuses on sustaining a lower note while playing a higher melody at the same time, meanwhile incorporating many trills and double stops.

Caprice No. 9 in E major - Allegretto: Nicknamed "La Chasse" or "The Hunt", the violin's A and E strings imitate the flutes ("Sulla tastiera imitando il Flauto"), while the G & D strings imitate the horns ("imitando il Corno sulla D e G corda"). Primarily a study in double stops, with ricochet occurring in the middle section.

Caprice No. 10 in G minor - Vivace: This caprice is primarily a study in up-bow staccato, with staccato notes punctuated by chords, trills and distant string crossings.

Caprice No. 11 in C major - Andante – Presto – Andante: The eleventh caprice starts and ends with sections that require multiple voices, containing a passage that consists of many dotted notes rapidly jumping up and down the scale.

Caprice No. 12 in A-flat major - Allegro: This caprice consists of a slurred pattern of a melody on an upper string alternating with a drone note on a bottom string, forcing the violinist to stretch great distances while keeping a finger on the drone string.

Caprice No. 13 in B-flat major - Allegro: Nicknamed "The Devil's Laughter", this solo violin piece starts out with scale like double-stopped passages at a moderate speed. The second part consists of high speed runs that exercise left hand flexibility and position shifting, and right hand high speed string changing and detache bowing. The piece then repeats back to the beginning and ends right before reaching the second part for the second time.

Caprice No. 14 in E-flat major - Moderato: The 14th caprice displays the violin's ability to voice chords. It contains many triple and quadruple stops. Stylistically, the piece imitates brass fanfares.

Caprice No. 15 in E minor - Posato: Caprice 15 starts with a short passage of high parallel octaves, continuing on to ascending arpeggios, descending scales, and broken thirds.

Caprice No. 16 in G minor - Presto: The first part shows the theme, requiring a player's ability of right-hand and left-hand bow control as it consists of arpeggios using either alternate adjacent strings or string jumping. The former requires the player the mastery of upper register, as it is difficult to control especially with the distance. The latter on the other hand requires the performer to master string skipping, where a player jumps from one string to another, rapidly over adjacent positions. The over-all required technique is detache.

The second part is continuous —the earlier part is a consequent passage. The next area differentiates itself by the continued use of a quieter feel, with chromatic passages executed in slur phrases. By analysis, the second part is smorzando legato. It returns with a series of up and down arpeggios and scales increasing in intensity until the caprice's conclusion. The caprice appears to be brief since its entire length is executed in presto.

Caprice No. 17 in E-flat major - Sostenuto – Andante: The "A" section contains numerous thirty-second note runs on the A and E strings that converse back and forth with double stops on the lower two strings. The middle section is famous for the incredibly difficult octave passage.

Caprice No. 18 in C major - Corrente – Allegro: The introduction to caprice 18 demonstrates playing on the G string in very high positions. This is followed by a rapid display of scales in thirds.

Caprice No. 19 in E-flat major - Lento – Allegro Assai: Here are a lot of octaves at the beginning; then there are string crossings between G and A strings; this is followed by quick changes of position on the G string.

Caprice No. 20 in D major - Allegretto: Caprice 20 is famous for the use of the D string as a drone, backdropping a lyrical melody on the A and E strings, imitating a bagpipe. This is followed by a rapid sixteenth note passage with trills and flying staccato.

Caprice No. 21 in A major - Amoroso – Presto: Caprice 21 begins with a very expressive, aria-like melody played in double-stopped sixths. This is followed by a section of rapid up-bow staccato.

Caprice No. 22 in F major - Marcato: Caprice 22 explores many types of double and triple stops with louré bowing, then implementing various elements of slurred staccato, slurred tremolos and strings crossings.

Caprice No. 23 in E-flat major - Posato: Caprice No. 23 begins with a melody in octaves in E-flat. The middle, contrasting section is a formidable exercise in string crossings: it requires the violinist to play patterns of 3 sixteenth notes on the G string and then cross quickly to play one on the E string, and then back to the G string, all at a quick tempo.

Caprice No. 24 in A minor - Tema con Variazioni (Quasi Presto): Caprice No. 24 in A minor is the final caprice of Niccolò Paganini's 24 Caprices, and a famous work for solo violin. The work, in the key of A minor, consists of a theme, 11 variations, and a finale.

It is widely considered one of the most difficult pieces ever written for the solo violin. It requires many highly advanced techniques such as parallel octaves and rapid shifting covering many intervals, extremely fast scales and arpeggios including minor scales in thirds and tenths, left hand pizzicato, high positions, and quick string crossing.

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Niccolò Paganini - 24 Caprices for solo Violin, Op. 1.

2025
Tami Pohjola, violon
Stephanie Gurga, piano

Maurice Ravel - Tzigane

Gustav Mahler - Adagietto from Symphony No. 5 cSharp - Minor. Feltpiano - Version by Jürgen Reimann

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Wolfgang Amadeus Mozart wrote his Symphony No. 40 in G minor, KV. 550, in 1788. It is sometimes referred to as the "Great G minor symphony," to distinguish it from the "Little G minor symphony," No. 25. The two are the only extant minor key symphonies Mozart wrote.

The work is in four movements, in the usual arrangement for a classical-style symphony (fast movement, slow movement, minuet, fast movement):

Molto allegro, 2/2
Andante in E-flat major, 6/8
Menuetto. Allegretto – Trio, 3/4
Finale. Allegro assai, 2/2

The second movement is a lyrical work in 6/8 time, in E flat major, the submediant major of the overall G minor key of the symphony. 

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Mozart - Symphonies, Sonatas, Serenades, Concertos & Overtures

Symphony No.40 in G-Minor, K. 550: ‘Great’  II. Andante

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The Salzburger violinist Thomas Albertus Irnberger, courted for some time also in Israel by the most important orchestras, now presented with the Jerusalem Symphony Orchestra under the direction by Doron Salomon his latest CD with two violin concertos of the Romantic. You can hear two works whose reputation could be different not: the famous Violin Concerto in E minor, Op 64 by Felix Mendelssohn Bartholdy and the Violin Concerto in D minor op 56 by Niels Gade... Similarities, however, there in the musical design of the works as well as the artistic CV of the two composers, so Gade was next to his friend Mendelssohn's deputy and successor in the post of chief conductor of the Gewandhaus Orchestra in Leipzig.

Violin Concerto In E Minor, Op. 64, MWV O 14: I. Allegro Molto Appassionato -

Classical Collections The Masters, Vol. 4

Suite No 2 In B Minor

Gustav Mahler-Symphony No 5 in C-Sharp Minor - Adagietto

Wolfgang Amadeus Mozart - String Quartet No. 21 in D major, K. 575 'Prussian No. 1' - I. Allegretto

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