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 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.

P.I.Tchaikovsky, Concerto per violino e orchestra op.35 - Ars Cantus, violino Andrea Bordonali

P.I.Tchaikovsky, Concerto per violino e orchestra op.35 - Ars Cantus, violino Andrea Bordonali

P.I.Tchaikovsky, Concerto per violino e orchestra op.35 Coro e Orchestra Sinfonici Ars Cantus, direttore Giovanni Tenti Violino solista Andrea Bordonali LIVE RECORDED 13/04/2014 Il Concerto per violino e orchestra è attualmente disponibile: per info e organizzazione di eventi: arscantus.associazione@gmail.com http://www.arscantus.org/ ANDREA BORDONALI Nato nel 1965 a Milano, ha studiato violino con Michelangelo Abbado, Fulvio Luciani, Giulio Franzetti, Mauro Catalano, diplomandosi nel 1988 presso il Conservatorio “Achille Peri” di Reggio Emilia. Ha frequentato i corsi di interpretazione della musica di J.S. Bach con Rudolf Barshai e si è perfezionato con Felix Ayo. Nel 1990 ha superato le selezioni dell’Orchestra“Mozart a Milano”, riservata a giovani solisti italiani e ha collaborato con l’Orchestra Sinfonica della RAI di Milano; parallelamente è risultato vincitore del posto di violino di spalla presso l’Orchestra “Hans Swarovsky” di Milano. Nel 1991 è stato scelto come violino di spalla dell’Orchestra Sinfonica dell’Università Cattolica di Milano; con questa orchestra ha tenuto quattro stagioni sinfoniche di ventiquattro concerti. Come violino di spalla ha collaborato con P. Maag (con il quale ha effettuato una registrazione dal vivo del Requiem di Mozart), R. Muti, G. Taverna, G. Garbarino, N. Arman, F. Pantillon e solisti come R.Filippini, S.Mildonian, S. Accardo, G. Carmignola, M. Larrieu; ha poi guidato l’Orchestra in tournées in Canada (Montreal, Ottawa), Francia (Belfort, Strasburgo), Germania (Würzburg), Thailandia (Bangkok); Roma (Teatro dell’Opera), Novara e in altre città italiane. E’ stato concertino dei primi violini con l’Orchestra “Guido Cantelli” di A. Veronesi e violino di spalla dell’Orchestra della Provincia di Lecco, attiva soprattutto nel repertorio operistico. Dal 1991 membro dell’Associazione “Ars Cantus”, testimonial ufficiale della Provincia di Varese, della quale è violino di spalla; con quest’ultima, oltre ai Concerti sul territorio, ha effettuato tournées in Italia (Roma, Carrara, Fiuggi, Assisi, Anagni, Milano Conservatorio G. Verdi, Teatro Dal Verme, etc..) e all’estero (Strasburgo, Ginevra, Musikverein di Vienna etc..). Collabora con l’Orchestra “Giuseppe Verdi” di Milano (concerti con R. Chailly e R. Muti), l’Orchestra “Milano Classica”, l’Orchestra Sinfonica di Sanremo, l’Orchestra del Teatro Chiabrera di Savona, Orchestra del Friuli Venezia Giulia, Orchestra Filarmonica Italiana, etc… Svolge inoltre sia attività solistica con varie esecuzioni de Le Quattro Stagioni di Vivaldi, Concerti K 216 e K 218 di W.A. Mozart, Concerto op. 64 di Mendelssohn, Concerto per 2 violini e Concerto per violino e oboe di J. S. Bach, Tre brani da Schindler’s List di J. Williams, che in formazioni cameristiche. È stato docente di violino presso l’Istituto Musicale “V. Bellini” di Tradate (VA). Ars Cantus is a non-profit Cultural Association which was founded on 10th December 1987, in Varese, Italy, with the aim "of developing and spreading interest in and enthusiasm for classical music, in particular Italian and sacred music, with special emphasis on the artistic and musical education of schoolchildren and young members of the public. In order to achieve these aims, the association co-operates in all possible ways both with public institutions and with those of the dioceses.

Čajkovskij, Pëtr Il'ič Concerto n° 1 in Si bemolle minore

Čajkovskij, Pëtr Il'ič Concerto n° 1 in Si bemolle minore

Concerto n° 1 in Si bemolle minore per pianoforte e orchestra, Op. 23 anno: 1941 artisti: Horowitz, Vladimir (ruolo: Pianista) NBC Symphony Orchestra (ruolo: Orchestra) Toscanini, Arturo (ruolo: Direttore d'orchestra)

tchaikovsky eugene onegin; polonaise berliner phil ¬claudio abbado

tchaikovsky   eugene onegin; polonaise   berliner phil ¬claudio abbado

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.

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

Tchaikovsky Polonaise from "Eugene Onegin", Op.24

Tchaikovsky Polonaise from "Eugene Onegin", Op.24

Čajkovskij-klavírní koncert B-moll

Čajkovskij-klavírní koncert B-moll

Petr Iljič Čajkovskij

(R) Piero Mascagni - Silvano - Barcarolle

(R) Piero Mascagni - Silvano - Barcarolle

Genetics. Artistic appreciation can be acquired, but only to a certain degree. The dynamics of appreciation has contained within it, a spectrum all of its own, a sliding scale of reactions that range from sensations as slight as mild passing interest to emotional tsunami’s, experiences so religious in intensity it is, for some, even better than sex. Everyone wants the religious experience of course but, sadly, not everyone is capable of feeling their chosen medium, whatever that may be, to such a degree of intensity. What it is that gives one the ability to respond so profoundly to a work of art? Genetics. You’ve got to have the genes; you’ve got to have the genetic ability to convert artistic sensory input into emotional output. Do you have the music gene; do you have the ear? If you do then it shouldn’t be too difficult to ascertain, for, some of the following behavioral traits should be readily familiar to you: To you, music isn’t just recreation; it supports you. When you’re feeling low you turn to music to pick you up. When you’re feeling happy you turn to it to rejoice in your happiness. And when you are without it you feel naked and alone. You don’t care about positive or negative reviews, hype or ridicule, failure or success; your discerning ear alone selects, dissects and decides what is good and what isn’t, and you are very selective about what you choose to listen to. Music you hate puts you in a bad mood; music you love sends spasms of energy through you, which, in your time of trouble, moves you to tears as it reaches inside you to caress you, strengthen you, filling you with emotions so powerful as to resonate through every aspect of you, changing you, irrevocably, from the inside out. Music is, to you, your best friend and you cannot imagine life without it. It changes you, it guides you and it makes you, the way that it makes me. To those of you who do have the ear, diagnostics aren’t at all necessary; you will already feel the passion of the medium burning deep inside you. Its presence is one which is so self-evident that the very question of its existence prompts a response without hesitation and with unquestionable certainty. But is latency a factor, could you perhaps acquire the ability to feel the medium of music at a later stage? The answer is yes but, on the whole, because the medium of music receives such a wide exposure, and is so deeply ingrained into our culture that, if you haven’t acquired the musical ear by your late teens then, the chances are, you probably never will. But don’t feel downhearted. There are many other artistic mediums out there that might hold a few surprises for you. Art is the science of creativity, a science which, from cradle to grave, can be applied to every aspect of your life. And so rich in possibilities is this world, we should all be happy as Kings.

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