A selection of the greatest classical tunes; the perfect starting point for anyone who's keen to explore the world of classical music.

Classical Essentials

Ralph Vaughan Williams  The Lark Ascending

Ludwig van Beethoven - Sonata No.14 in c sharp minor Op27 No.2 Moonlight
I. Adagio Sostenuto
Performed by HuiChun Lin 林 慧君

"Elegant Immortal Classics - HuiChun Lin Piano Recital 2009"
"德奧、雅緻、雋永集 — 林 慧君鋼琴獨奏會"
06/Jun/2009 臺中中興堂 TaiChung Taiwan


Curator
Vincent Music & Art 文生音樂藝術

Sponsors
The National Culture and Arts Foundation 財團法人國家文化藝術基金會
Department of Cultural Affairs Taipei City Government 臺北市文化局

Credit
Live Recording/Konzertmitschnitt 18/May/2008 臺中市中興堂
ArchiMusic Production 雅砌音樂錄音製作工程

All rights of the producer and of the owner of the recorded work reserved. Unauthorized copying, public performance, broadcasting, hiring or rental of this recording strictly prohibited.

Ludwig van Beethoven - Sonata No.14 in c sharp minor Op27 No.2 Moonlight I. Adagio Sostenuto

For You - The World's Best Loved Classical Piano Pieces

Gnossienne No. 1

Sarabande

Keyboard Suite No. 4 in D Minor, HWV 437: III. Sarabande (Orch. Hale)

Herbert von Karajan - Adagio

J.S. Bach: Orchestral Suite No. 3 in D Major, BWV 1068: II. Air "on the G String"

Klassik Wunderland - Klassische Musik für Kinder

Bagatelle No. 25 in A Minor, WoO 59 "Für Elise"

Mozart: Une petite musique de nuit - Pachelbel: Canon

Canon and Gigue for Three Violins and Continuo in D Major: Canon

Mahler: Symphony No. 5

Symphony No. 5 in C-Sharp Minor: IV. Adagietto. Sehr langsam

Songs from the Arc of Life

The Carnival of the Animals, R. 125: XIII. The Swan (Arr. for Cello and Piano)

Strauss, J.: An der schönen blauen Donau (The Blue Danube)

J. Strauss II: An der schönen blauen Donau, Waltz, Op. 314 (Recorded 1980)

Big Piano Concertos Box

Edvard Grieg: Piano Concerto in A Minor, Op.16: I. Allegro molto moderato

Prokofiev: Romeo and Juliet

Romeo and Juliet, Op. 64, Act 1: Dance of the Knights

Now We Are Free

Massenet: Méditation from Thaïs

Sergei Rachmaninoff: Piano Concerto No.2 in C Minor Op.18 
II. Adagio sostenuto
By Dacorum Youth Orchestra

Sergei Rachmaninoff: Piano Concerto No.2 in C Minor Op.18 - II. Adagio sostenuto by DYO

Debussy: Suite bergamasque, L. 75, 3. Clair de lune

III. Clair de lune

Orchestra:  Southampton University Symphony Orchestra (SUSO)
Conductor:  Sergiu Rusu (Assistant Conductor 2017/18)

Pre-term Concert
Date:  22nd September 2018
Location:  Swaythling Methodist Church, Southampton, UK

http://suso.susu.org/

Camille Saint-Saëns - Danse Macabre, Op.40

J.S. Bach: The Well-Tempered Clavier, Book 1, BWV 846-869 / Prelude & Fugue in C Major, BWV 846: I. Prelude

J.S. Bach: The Well-Tempered Clavier I, Prelude & Fugue No. 1 in C Major, BWV 846: I. Prelude

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

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.”


Classical Essentials

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