Con il violoncello nella "Foresta degli Stradivari" distrutta dal vento: l'omaggio di Mario Brunello

Con il violoncello nella "Foresta degli Stradivari" distrutta dal vento: l'omaggio di Mario Brunello

In Trentino il vento a più di 140 chilometri orari ha schiantato a terra intere foreste, tra cui quella secolare di abeti rossi conosciuta come la "foresta dei violini". Con quel legno, già più di 400 anni fa, Stradivari costruiva i suoi preziosi strumenti a corda, una tradizione che oggi è a forte rischio dato che ci vorranno almeno 100 anni per vedere i figli degli alberi caduti. Per rendere omaggio alla foresta, Mario Brunello, violoncellista di fama internazionale e vincitore del premio ?ajkovskij, ha deciso, insieme all'orchestra Villa Lobos, di suonare tra gli abeti rimasti in piedi. L'11 novembre suonerà in val Saisera, a Paneveggio, per far pace con la natura e dialogarci, per esprimere vicinanza a quegli "alberi nobilissimi padri dei nostri archi" (a cura di Valentina Ruggiu)

P. I. Čajkovskij - Svjatyj Bože | úpr. Olejník | Schola OP | 1080p | CZ sub

P. I. Čajkovskij - Svjatyj Bože | úpr. Olejník | Schola OP | 1080p | CZ sub

Originál P. I. Čajkovskij, upravil P. J. Olejník Trisagion (τρίσἅγιον) - Trisvjatoje (трисвѧтоѥ) - Trojsvatá píseň Download audio: https://soundcloud.com/schola-op/p-i-ajkovskij-svjatyj-bo-e-pr web: http://olomouc.op.cz/index.php?page=schola-op kontakt: scholaop@outlook.cz Natočeno v kostele Neposkvrněného Početí Panny Marie v Olomouci 31. ledna L.P. 2015 Schola OP © 2015

P. I. Tchaikovsky - Valzer dei fiori - da "Schiaccianoci à la carte"

P. I. Tchaikovsky - Valzer dei fiori - da "Schiaccianoci à la carte"

Tratto dal Balletto "Schiaccianoci à la carte" in scena al Teatro Ristori il 16, 18 e 19 dicembre 2015. Musica di P.I. Tchaikovsky e D. Ellington Coreografia: Renato Zanella Primi ballerini Alessia Gelmetti, Amaya Ugarteche, Teresa Strisciulli, Evghenij Kurtsev e Antonio Russo Direttore allestimenti scenici: Giuseppe de Filippi Venezia Corpo di ballo e tecnici dell'Arena di Verona Per informazioni: http://www.arena.it/filarmonico/it/shows/schiaccianoci-a-la-carte.html

P. I. Tchaikovsky - Piano Concerto No. 1, Op. 23 - I movimento

P. I. Tchaikovsky - Piano Concerto No. 1, Op. 23 - I movimento

Pëtr Il'ič Čajkovskij: Concerto per pianoforte n.1 Op. 23 - I movimento pianoforte Paolo Wolfango Cremonte direttore Andrea Raffanini Orchestra Città di Vigevano Vigevano, Teatro Cagnoni, 12 marzo 2016

Pëtr Il'ič Čajkovskij - Manfred Symphony in B minor, Op. 58

Pëtr Il'ič Čajkovskij - Manfred Symphony in B minor, Op. 58

The Manfred Symphony is a programmatic symphony composed by Pyotr Ilyich Tchaikovsky between May and September 1885; it is based on the poem "Manfred" written by Lord Byron in 1817. It is the only one of Tchaikovsky's symphonies he completed that doesn't have the opus number. The Manfred Symphony is the only programmatic symphonic work by Tchaikovsky in more than one movement; at the beginning, he considered the work one of his best, and in a typical reversal of opinion later considered destroying all but the opening movement. The symphony was greeted with mixed reviews, some finding much to laud in it, and others feeling that its programmatic aspects only weakened it. The symphony is divided into four movements: 1. Lento lugubre. Manfred wanders in the Alps: weary of the fatal question of existence, tormented by hopeless yearnings and the memory of past crimes, he suffers cruel spiritual pangs. He has plunged into occult sciences and commands the mighty powers of darkness, but neither they nor anything in this world can give him the forgetfulness to which alone he vainly aspires. The memory of the lost Astarte, once passionately loved, tortures his heart and there is neither limit nor end to Manfred's despair. The musical embodiment of this program note is presented in five extensive musical slabs spaced out by four silences. A brooding first theme, briefly unharmonized, builds to music both spacious and monolithic. A second theme leads to a second musical slab, this time pushing forward with the loudest climax Tchaikovsky ever wrote. The music in the third slab seems calmer, while the fourth slab marks the appearance of Astarte. The fifth slab culminates in a frantic climax and a series of abrupt, final chords. 2. Vivace con spirito. The Alpine fairy appears before Manfred in the rainbow from the spray of a waterfall. Tchaikovsky's efforts in exploring fresh possibilities in scoring allowed him to present his music with new colors and more refined contrasts. In this scherzo, it seems as though the orchestration creates the music, as though Tchaikovsky has thought directly in colors and textures, making these the primary focus. Put simply, there is no tune and little definition of any harmonic base, creating a world alluring, fragile and magical. The point becomes clear when an actual and lyrical tune enters the central section of the movement. 3. Andante con moto. A picture of the bare, simple, free life of the mountain folk. This pastorale opens with a siciliana, then the three-note call of a hunter. The opening theme returns; a brief and lively peasant dance is heard, then an agitated outburst, before the opening theme returns. The opening pastoral theme eventually returns more spaciously and in a fuller, more decorative scoring. The hunter sounds his horn; the music fades. 4. Allegro con fuoco. The subterranean palace of Arimanes. Infernal orgy. Appearance of Manfred in the middle of the bacchanal. Evocation and appearance of the shade of Astarte. He is forgiven. Death of Manfred. Many critics consider the finale to be fatally flawed, but the problem lies less with music than with the program. Up to this point Tchaikovsky has done well at reconciling the extra-musical requirements for each movement with the music itself. Now, however, the program takes over, beginning with a fugue, which is by its nature academic and undramatic, to depict the horde's discovery of Manfred within their midst. The result, though in many ways becoming a condensed recapitulation of the latter half of the first movement, becomes a fragmented movement with musical disruption and non-sequiturs, ending with the Germanic chorale depicting Manfred's death scene. Mariss Jansons & Oslo Philharmonic Orchestra.

Pëtr Il'ic´ C´ajkovskij - Barcarola Op. 37b N. 6 - Silvano G. Bernasconi, Erard Grand Piano

Pëtr Il'ic´ C´ajkovskij - Barcarola Op. 37b N. 6 - Silvano G. Bernasconi, Erard Grand Piano

http://www.silvanobernasconi.ch In the Anniversary on the dead of Cíaikovskij (Born: May 7, 1840- Died: November 6, 1893) here the famous Barcarolle, from the cicle "The seasons", that was composed by Cíakovskij for the musical periodic "Le Nouvelliste" after a contact with the music publisher Nicolaji Matveyevich Bernard. In this animation a painting of Silvano Giuseppe Bernasconi; according the first manuscript, where the two last accords are scored non arpeggiato as the calm end of wave. He plays an Erard Grand Piano of 1848 from his ancient piano collection.

P.I Čajkovskij, Concerto n. 1 in si bemolle minore op. 23 - Teatro Sociale

P.I Čajkovskij, Concerto n. 1 in si bemolle minore op. 23 - Teatro Sociale

Teatro Sociale di Mantova http://www.teatrosocialemantova.it/ www.ocmantova.com Piccolo assaggio dell' evento tenutosi a teatro la sera del 27 Febbraio 2015: Tempo d'Orchestra Orchestra I Pomeriggi Musicali Simone Pedroni, pianoforte Giancarlo Andretta, direttore P.I Čajkovskij, Concerto n. 1 in si bemolle minore op. 23 R. Schumann, Sinfonia n. 1 in si bemolle maggiore op. 38 “Primavera” Vincitore dell’edizione 1993 del celebre concorso americano intitolato a Van Cliburn, Simone Pedroni è fra i pianisti italiani di maggiore successo internazionale e vanta collaborazioni con artisti del calibro di Menuhin, Spivakov, Chailly, Noseda, Ashkenazy. Egli è qui atteso solista in uno dei più popolari capolavori della letteratura ottocentesca russa, mentre l’Orchestra dei Pomeriggi Musicali si produce nell’avvincente Prima Sinfonia di Schumann, sotto la guida di Andretta, bacchetta di lungo corso internazionale.

tchaikovsky eugene onegin; polonaise berliner phil ¬claudio abbado

tchaikovsky   eugene onegin; polonaise   berliner phil ¬claudio abbado

molestando al Sr. Erard

molestando al Sr. Erard

disculpe usté, pero hay que empezar a levantar la moral, de a poquito

Raging Bull Scene Reenactment By Conrad Solinski

Raging Bull Scene Reenactment By Conrad Solinski

My reenactment of a scene from Raging Bull. Directed by Martin Scorsese. Musical track used: Pietro Mascagni "Barcarola" Silvano

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