Themes Variations....!

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Channel Title : John Clifford

Views : 9289

Likes : 91

DisLikes : 3

Published Date : 2017-10-24T06:21:34.000Z

Merrill Ashley and Sean Lavery. NYC Ballet
    

Channel Title : baja0270

Views : 247576

Likes : 1162

DisLikes : 40

Published Date : 2011-10-17T10:03:38.000Z

Rare video performance of Abt
    

Channel Title : Ashish Xiangyi Kumar

Views : 412451

Likes : 4979

DisLikes : 73

Published Date : 2016-07-15T14:11:14.000Z

Rachmaninoff's Variations on a Theme of Chopin are often gently disparaged as a juvenile work -- too long, too rambling, too dark and remorseless. Chochieva's stunning performance reveals this work for the masterpiece it truly is. Where other pianists regularly leave out variations (something Rachmaninoff himself often did in performance), Chochieva plays all 22 variations, and brings to them a great deal of air and light (seriously -- all the dark passages are played with such tenderness!), along with breathtaking phrasing, remarkable contrapuntal clarity, and a vivid sense of imagination. Neither is there self-indulgence -- the tempi are brisk, with Chochieva's recording clocking in at about 3 minutes shorter than the average. And thus the Op.22 is revealed not at all as long or rambling, or dark -- instead, it is tightly knit, full of warmth and generosity, one of the most relentlessly beautiful works Rachmaninoff ever produced (listen to those slow variations -- I really don't think that Rachmaninoff, in one work, ever wrote so many pages so replete with such haunting and luminous beauty). 00:00 -- Theme 01:09 -- Var. 1, Moderato [MOVEMENT I] 01:53 -- Var. 2, Allegro 02:08 -- Var. 3 02:23 -- Var. 4 03:12 -- Var. 5, Meno mosso 03:37 -- Var. 6, Meno mosso* 04:40 -- Var. 7, Allegro 04:58 -- Var. 8 05:18 -- Var. 9 05:39 -- Var.10 06:10 -- Var.11, Lento [MOVEMENT II] 07:38 -- Var.12, Moderato 09:44 -- Var.13, Largo 10:58 -- Var.14, Moderato* (Some truly stunning contrapuntal voicing + dynamic control going on here. Note also how carefully constructed this variation is: the middle voice contains figuration that is borrowed from those little twists in the high registers in Var.13) 12:19 -- Var.15, Allegro scherzando 13:41 -- Var.16, Lento* (One of Rachmaninoff's most inspired yet least-known melodies. It sounds destined for a piano concerto of some sort.) 14:50 -- Var.17, Grave 16:24 -- Var.18, Piu mosso 17:14 -- Var.19, Allegro vivace* [MOVEMENT III] 18:27 -- Var.20, Presto 19:33 -- Var.21, Andante* (A gorgeous and rather Brahmsian canon which ends in an powerful transitionary passage to the final variation) 22:10 -- Var 22, Maestoso* (Think of how much this sounds like Lyapunov in the middle section!)
    

Channel Title : HowToReadSheetMusic

Views : 43176

Likes : 315

DisLikes : 10

Published Date : 2013-03-05T18:01:15.000Z

https://www.musictheoryacademy.com Easy music theory video lesson explaining theme and variations form with an audio example.
    

Channel Title : pataragogo pataragogo

Views : 24955

Likes : 179

DisLikes : 7

Published Date : 2016-12-11T18:30:57.000Z

Balanchine's Theme and Variations Maia Makhateli/Artur Shesterikov Het National Ballet Tchaikovsky
    

Channel Title : Gregory Miller - Topic

Views : 1758

Likes : 18

DisLikes : 1

Published Date : 2014-09-29T12:02:56.000Z

Provided to YouTube by The Orchard Enterprises Joseph Labor: Theme and Variations, Op. 10: Theme and Variations, Op. 10 · Gregory Miller · Joseph Labor · Ernest Barretta Solos for the Horn Player - The Mason Jones Book ℗ 2007 MSR Classics Released on: 2006-07-04 Auto-generated by YouTube.
    

Channel Title : HenriVieuxtemps

Views : 471892

Likes : 6506

DisLikes : 66

Published Date : 2012-07-21T19:09:57.000Z

Henryk Wieniawski (1835-1880) Variations on an original theme op. 15 in a violin + piano Maestoso Andante ma non troppo Theme Allegretto Var1 Var2 Poco piu lento Var3 Risoluto Finale Tempo di valse Coda Allegro vivace
    

Channel Title : thenameisgsarci

Views : 47003

Likes : 432

DisLikes : 7

Published Date : 2015-08-02T06:43:29.000Z

Variations on a Theme by Tchaikovsky, Op. 35a, a piece for string orchestra by Anton Arensky, started out as the slow movement of his String Quartet No. 2 in A minor, Op. 35. It was written in 1894, the year after the death of Pyotr Ilyich Tchaikovsky, in a tribute to that composer. It was based on the theme from the song "Legend: Christ in His Garden", the fifth of Sixteen Children’s Songs, Op. 54. Tchaikovsky's song was originally set to a Russian translation by Aleksey Pleshcheyev of an English poem called "Roses and Thorns" by the American poet Richard Henry Stoddard. At the first performance of the quartet, the slow movement was so well received that Arensky soon arranged it as a separate piece for string orchestra, Op. 35a, in which form it has remained among the most popular of all Arensky’s works. Arensky also made a version of the quartet for the unusual scoring of violin, viola and two cellos. The Variations are set out in the following sequence: Theme, Moderato Variation I, Un poco più mosso Variation II, Allegro non troppo Variation III, Andantino tranquillo Variation IV, Vivace Variation V, Andante Variation VI, Allegro con spirito Variation VII, Andante con moto Coda: Moderato. (Wikipedia) Please take note that the audio AND the sheet music IS NOT mine. Change the quality to 480p if the video is blurry. Original audio: https://www.youtube.com/watch?v=tRKiE8o3NQU
    

Channel Title : madlovba3

Views : 163247

Likes : 1319

DisLikes : 11

Published Date : 2011-07-30T14:44:48.000Z

Cécile Chaminade's utterly charming Theme and Variations, played by Marc-André Hamelin in Amsterdam, 1998.
    

Channel Title : Ashish Xiangyi Kumar

Views : 515028

Likes : 4649

DisLikes : 86

Published Date : 2016-01-14T20:58:17.000Z

Brahms was not a showman, and rarely wrote music which aimed at being technically difficult. But when he did, he out-Liszted Liszt. The Paganini Variations, as you can tell from their main title, are not just a fully-fledged concert work but also a set of exercises for study, featuring technical challenges that are often more than a little obscene [19:24]. As always, the variations are also musically dazzling in their variety and invention. Kissin plays the faster variations with astounding bravura, [11:29] dynamic control [16:05], and articulation [16:49], and is exquisitely delicate in the slower ones [07:45]. Book I 00:00 – Theme 00:25 – Var.1. Churning sixths and thirds. Already extremely difficult. 00:49 – Var.2. Sixths in the LH, and rapid embellished octaves in the RH. Toybox-like sounds. 01:14 – Var.3. A single line divided between the hands scurries along in the new 6/8 meter with upbeats. Repeated notes divided rapidly between hands. 01:40 – Var.4. Accented trills and very large arpeggios. 02:25 – Var.5. The first quiet one. Hand-crossing, chromaticism, contrasting meter in both hands. 03:33 – Var.6. Syncopation and rapid, quiet octave leaps. 03:56 – Var.7. Fiery and dramatic. Chromatic octaves at the edges of the keyboard and harmonies in the centre of the keyboard swing inwards and outwards. Their movement is reversed in the second statement. 04:21 – Var.8. Leaps and thirds. Mazeppa-like. 04:47 – Var.9. Harmonic movement twice as slow as in earlier variations. Chromatic chords in RH against repeated octaves in tripet rhythm in LH. 06:07 – Var.10. Hand-crossing, syncopation. 07:45 – Var.11. The first of two major-key variations. Both hands in a high treble register playing expressive, steady, “tinkling” harmonies. In this variation, there are four full “repetitions,” as each two-bar unit uses the same exact material. The only variety comes from touch and dynamic change. 09:30 – Var.12. Continues the music box character of Var.11. RH has leaping, meandering arpeggios in the high register in triplet rhythm, the LH (beginning with an upbeat), in opposite motion in “straight” rhythm. 10:56 – Var.13. A “gypsy” variation, with difficult glissandi. 11:29 – Var.14. A stunning finale to Book I, really three variations rolled into one. The RH and LH pass a rapid scale between them, taking breaks to leap to two repeated notes and a punctuating octave. Trills intensify the variation, and then a huge cascade of arpeggios takes over. Repeated notes and vast rapid leaps. A trill emerges, is sustained, fades away, and becomes a drone over which a new variation is established. After a while the drone disappears altogether and broken octaves punctuated by sharp accents take over. Book II 13:11 – Var.1. Octave leaps, thirds. 13:56 – Var.2. Polyrhythm. Winding octaves and arpeggios. 14:31 – Var.3. Ascending thirds punctuated by octaves. Double notes. 15:00 – Var.4. A lilting waltz. 16:05 – Var.5. Dotted octaves, fleet-footed descending triplets. 16:28 – Var.6. Large, arching arpeggios with sharp, crushing embellishments. 16:49 – Var.7. A masterpiece of disguised complexity. A barely discernible but disorientating upbeat in the LH. 4 against 3 against 9 polyrhythm, later turned to 8 against 9. A chromatic line (the top note of an arpeggio) set of against octaves. Hands switch roles in second half. 17:07 – Var.8. Arpeggios in contrary motion. Meant to evoke a violin. (Kissin plays the repeats using the ossia). 17:35 – Var.9. A stark study in legato octaves. 18:35 – Var.10. Huge arpeggio sweeps, with extended harmonic displacement and “delay”. 19:24 – Var.11. Nearly impossible to play. Skittish and scherzo-like. Essentially a scale with hands moving in strict contrary motion, alternating octaves and single notes *outside of the preceding octave*. 19:48 – Var.12. A nocturne, the only variation not in A major/minor. Hemiolas (3/4 against 6/8), syncopation, inner voices. 21:08 – Var.13. Long scalar descents in the gypsy scale, featuring very delicate voicing in both hands. 22:16 – Var.14. Four variations in one. The first is scherzo-like, with the 2/8 meter speeding it up even more. Descending scales over a detached right hand. The second features double-note harmonies in groups of two passed between the hands. The third features smooth arching leaps and descents, in unison an octave apart. In the fourth 2/8 becomes 2/4 and triplet rhythm appears, and after a pregnant pause on a deceptive “dominant” chord, Brahms’ much-beloved polyrhythms close the work.
    

Channel Title : olla-vogala

Views : 295614

Likes : 2270

DisLikes : 49

Published Date : 2015-11-07T18:37:31.000Z

- Composer: Sergei Vasilievich Rachmaninoff (1 April 1873 -- 28 March 1943) - Performer: Vladimir Ashkenazy - Year of recording: Live in Lugano, Switzerland, 1968(?) Variations on a Theme of Corelli (Вариации на тему А. Корели) Op. 42, written in 1931. The Theme is followed by 20 variations, an Intermezzo between variations 13 and 14, and a Coda to finish. 00:00 - Theme. Andante 01:11 - Variation 1. Poco piu mosso 01:58 - Variation 2. L'istesso tempo 02:38 - Variation 3. Tempo di Minuetto 03:12 - Variation 4. Andante 04:09 - Variation 5. Allegro (ma non tanto) 04:30 - Variation 6. L'istesso tempo 04:50 - Variation 7. Vivace 05:18 - Variation 8. Adagio misterioso 06:15 - Variation 9. Un poco piu mosso 07:28 - Variation 10. Allegro scherzando 08:01 - Variation 11. Allegro vivace 08:24 - Variation 12. L'istesso tempo 09:01 - Variation 13. Agitato 09:33 - Intermezzo 10:59 - Variation 14. Andante (come prima) 12:08 - Variation 15. L'istesso tempo 13:57 - Variation 16. Allegro vivace 14:27 - Variation 17. Meno mosso 15:27 - Variation 18. Allegro con brio 15:59 - Variation 19. Piu mosso. Agitato 16:26 - Variation 20. Piu mosso 17:24 - Coda. Andante The theme is La Folia, which was in fact not composed by Arcangelo Corelli, but was used by him in 1700 as the basis for 23 variations in his Sonata for violin, violone, and harpsichord in D minor, Op. 5, No. 12. La Folia was popularly used as the basis for variations in Baroque music. Franz Liszt used the same theme in his Rhapsodie Espagnole S. 254 (1863). Rachmaninov dedicated the work to his friend the violinist Fritz Kreisler. He wrote to another friend, the composer Nikolai Medtner, on 21 December 1931: "I've played the Variations about fifteen times, but of these fifteen performances only one was good. The others were sloppy. I can't play my own compositions! And it's so boring! Not once have I played these all in continuity. I was guided by the coughing of the audience. Whenever the coughing would increase, I would skip the next variation. Whenever there was no coughing, I would play them in proper order. In one concert, I don't remember where - some small town - the coughing was so violent that I played only ten variations (out of 20). My best record was set in New York, where I played 18 variations. However, I hope that you will play all of them, and won't 'cough'." Ashkenazy plays this piece very well, no 'coughs' in this performance...
    

Channel Title : Yvonne Chen

Views : 14825

Likes : 87

DisLikes : 4

Published Date : 2015-03-27T16:55:11.000Z

www.pianistyvonnechen.com Yvonne Chen, pianist MADNESS: Doctoral Solo Recital I Duncan Recital Hall, Rice University (Houston) March 24, 2015 Robert Schumann’s Theme and Variations in E-Flat major, WoO 24, also known as the Ghost Variations, is known to be the last piano work of the composer, during the time in which he attempted suicide in February 1854 and was suffering from hallucinations before he was admitted to the Bonn-Endenich mental institution. The chorale-style theme in E-flat major, which Schumann recorded as having been “dictated by the angels”, has been used perhaps more famously in Brahms’ Variations on a Theme by Robert Schumann, Op.23 for four hands. This piece today is relatively unknown, since its first edition did not surface until 1939. Schumann’s few indications of character leave the theme and its five subsequent variations in a generally quiet and internal spiritual mood.
    

Channel Title : Thomas van Dun

Views : 311

Likes : 5

DisLikes : 0

Published Date : 2018-09-01T11:20:15.000Z

Variations on a Theme by Glinka - for oboe & military band in G minor Written by Nikolai Rimsky Korsakov in 1878 Performed by Lajos Lencsés (oboe) and the Rundfunk-Sinfonieorchester Berlin, conducted by Hans E. Zimmer 'The second of three concertante works Rimsky-Korsakov wrote as director of Russia's Navy bands, this is billed not as a concerto (as are the compositions for trombone and clarinet), but simply as a set of variations. A short, ominous introduction lurching through the band's lower regions gives way to a hint of the main theme at the top of the ensemble, and the oboe quickly slips in to play Glinka's melody Beautiful Maiden, a lilting polonaise. Twelve very short variations ensue -- the whole work can be played in less than nine minutes -- with soloist and band taking nearly equal shares of the melodic work. Among the more striking variations are the fourth, in which the oboe plays recitative material over trills in the horns and flutes and a slightly sour waltz not long after that. Just before the end, the oboe takes a cadenza that is itself a sort of variation on the 12th variation. The band bursts in with a few peremptory measures and definitively halts the proceedings.' - James Reel This video is for educational purposes only. I do not own the rights to the music or the performance.
    

Channel Title : Bartje Bartmans

Views : 51017

Likes : 366

DisLikes : 5

Published Date : 2015-09-27T17:46:43.000Z

Gabriel Fauré Thème et variations, for piano in C sharp minor, Op. 73 (1895) Tema: Quasi adagio Var. 1: Lo stesso tempo Var. 2: Più mosso Var. 3: Un poco più mosso Var. 4: Lo stesso tempo Var. 5: Un poco più mosso Var. 6: Molto adagio Var. 7: Allegro moderato Var. 8: Andante molto moderato Var. 9: Quasi adagio Var. 10: Allegro vivo Var. 11: Andante molto moderato espressivo Jean-Philippe Collard, piano Description by Robert Cummings [-] The Thème et variations here is a large piece, usually having a duration well over a quarter-hour. It came a year after Fauré's Nocturne in D flat major No. 6, which ended a six-year hiatus from writing piano music for the composer. Fauré was also in the process of evolving his keyboard style toward bolder harmonic and thematic means of expression, but this work is largely conservative, even exhibiting hints of Schumann, especially in the main theme. That theme, marked Quasi adagio, is stately and presented in short, somewhat repetitive-sounding phrases. It has an expressive depth in its mixture of the noble and gloomy, of elegance and splendor. The first variation does not stray far in mood or in thematic change, but the second is lively and playful, exuding brilliant, almost Rachmaninovian colors. The ensuing variant is moderately paced, but still quite playful in its greater muscle. The music in the Molto Adagio sixth variation may offer the greatest depth here, and that in the Andante molto moderato eighth variation, the dreamiest and most serene. With the tenth variation, the music turns quite lively and colorful, and in the concluding 11th, the mood shifts to a quiet, reserved manner at the outset to a serenely triumphant one at the end.
    

Channel Title : Stoned Meadow Of Doom

Views : 259269

Likes : 1965

DisLikes : 55

Published Date : 2014-04-11T17:01:57.000Z

Om is a stoner doom metal band consisting of two of the three members of the legendary stoner doom band Sleep. While guitarist Matt Pike left Sleep to form High on Fire, which has evolved towards a more traditional style of metal; bassist/vocalist Al Cisneros and drummer Chris Hakius have continued the legacy that Sleep created while changing a few elements to make Om something original yet familiar to fans of Sleep. This three song album feature only bass, vocals, and drums, there are no guitars. However, the massive amount of distortion on the bass makes this unnoticeable and the riffing is just as it would be if there were guitars on the album. The use of only one stringed instrument works to give the songs a more stripped down feel than Sleep had. The riffing can be compared to a mixture of the second and third Sleep albums, Sleep's Holy Mountain and Dopesmoker, in the way that it is slow but not quite as oppressively heavy or epic as Dopesmoker. Despite this fact there is plenty of heaviness to be found in the fuzzed out 70s styled trance-inducing riffs that the bass churns out; these riffs are as slow and heavy as you'd expect from ex-members of Sleep. Drum-wise this leans more towards Dopesmoker in the way the drums methodically plod forward and utilize the heavier cymbals to bring out the heaviness of selected parts. Drum production is also reminiscent of Dopesmoker in the natural and live feel that the drums breathe into the music. The vocals are reminiscent of the subdued parts of Sleep's Holy Mountain; the hoarse stoned yells that appear on Dopesmoker are not present here. This subdued quality of the vocals makes them sound like sacred chants, thus adding to the overall ritualistic atmosphere the music invokes. Overall this three song album that runs about 45 minutes long creates a ritualistic atmosphere full of stoner doom heaviness and fuzzed out riffing. Variations on a Theme establishes Om as a well-experienced band that that fans of stoner doom should not pass up. This is probably the closest you'll come to hearing something new from Sleep and it does not disappoint. Debut from hypnotic drone doom band Om! Enjoy! 1. On The Mountain At Dawn - 0:00 2. Kapila's Theme - 21:18 3. Annapurna - 33:15 https://www.facebook.com/StonedMeadowOfDoom Check out my new online radio station of the same name! A great station for the best in Psychedelic/Stoner/Sludge/Doom http://www.radionomy.com/en/radio/stonedmeadowofdoom/index Support the continued funding of this channel, become a Patreon https://www.patreon.com/MeadowOfDoom Check out Stoned Meadow Of Doom 2 for more excellent full albums! - https://www.youtube.com/channel/UCkqjcQwTNvsxQWT44N6ESrA
    

Channel Title : Nancy Eldridge

Views : 17361

Likes : 170

DisLikes : 11

Published Date : 2013-12-12T21:42:38.000Z

From Solos for Young Violinists, vol. 1 Barbara Barber practice video
    

Channel Title : professorimprov

Views : 5475

Likes : 31

DisLikes : 1

Published Date : 2016-09-14T05:15:59.000Z

Haydn Theme and Variations
    

Channel Title : Jean Carlotto

Views : 54637

Likes : 429

DisLikes : 8

Published Date : 2013-09-06T14:12:16.000Z

    

Channel Title : Brian Gossard

Views : 17996

Likes : 141

DisLikes : 8

Published Date : 2014-04-07T15:33:14.000Z

This is a quick song and video I made to help my students remember what Theme and Variations form is.
    

Channel Title : Moscow City Symphony - Russian Philharmonic

Views : 261777

Likes : 1878

DisLikes : 45

Published Date : 2012-08-27T01:53:54.000Z

Moscow City Symphony "Russian Philharmonic" Conductor -- Michail Jurowski Soloist -- Narek Hakhnazaryan (cello) Moscow International House of Music, Svetlanov Hall June 20, 2012 P.Tchaikovsky. The Variations on a Rococo Theme for cello and orchestra Симфонический оркестр Москвы «Русская филармония» Дирижер -- Михаил Юровский Солист -- Нарек Ахназарян (виолончель) Московский Международный Дом Музыки, Светлановский зал 20.06.2012 П.Чайковский. Вариации на тему рококо для виолончели с оркестром
    

Channel Title : sydneycon

Views : 19446

Likes : 151

DisLikes : 3

Published Date : 2015-04-02T04:55:52.000Z

The SCM Chamber Orchestra performs Arensky's Variations on a Theme by Tchaikovsky, Op. 35a. Artistic Director - Alice Waten 2 April, 2015 Verbrugghen Hall
    

Channel Title : Menuhin Competition

Views : 835108

Likes : 17382

DisLikes : 195

Published Date : 2012-06-06T18:27:31.000Z

Soo-Been Lee in the Juniors - Finals of the Menuhin Competition Beijing 2012
    

Channel Title : ear8002

Views : 75160

Likes : 259

DisLikes : 14

Published Date : 2012-11-25T05:49:00.000Z

selections suite No 3 choreographer: George Balanchine Darci Kistler Igor Zelensky New York City Ballet 1993
    

Channel Title : batcello

Views : 136907

Likes : 1018

DisLikes : 17

Published Date : 2010-07-12T10:11:27.000Z

Brinton Averil Smith, cellist. The North American debut of Jean Sibelius' 1887 Theme and Variations for Solo Cello, the first concert work for solo cello by a major composer since the Bach Suites. Rediscovered in 1995, the work is now finally published and available from Fennica Gehrman . At the time of this recording, it was unpublished and the recently 'rediscovered' variation 6 was not a part of the score. From a faculty recital at Rice's Shepherd School of Music on March 15th, 2010. Other works on the program included solo cello works by Reger, Bloch, Rozsa, Ysaye, Cassado and transcriptions for solo cello of works by Paganini and Chopin. Further information at https://www.brintonaverilsmith.com Smith's CD of the first public performance of Castelnuovo-Tedesco's cello concerto since Piatigorsky's, paired with virtuosic Castelnuovo-Tedesco transcriptions and arrangements is available from Naxos, Spotify, etc and at https://amzn.to/2tWKsTr
    

Channel Title : Crash5020

Views : 313411

Likes : 1150

DisLikes : 97

Published Date : 2015-06-18T20:08:13.000Z

    

Channel Title : Timothy Broege - Topic

Views : 12327

Likes : 114

DisLikes : 4

Published Date : 2015-01-22T14:20:01.000Z

Provided to YouTube by NAXOS of America Theme and Variations · Rutgers Wind Ensemble Distinguished Music for the Developing Wind Band, Vol. 5 ℗ 2012 Mark Records Released on: 2012-08-07 Conductor: William Berz Ensemble: Rutgers Wind Ensemble Ensemble: Rutgers Symphonic Band Composer: Timothy Broege Auto-generated by YouTube.
    

Channel Title : canadian21493

Views : 34917

Likes : 222

DisLikes : 9

Published Date : 2012-08-13T04:04:35.000Z

Variations on a Theme of Robert Schumann ("Happy Farmer") high quality recording arranged for band. This is not property of me.
    

Channel Title : foropera

Views : 106671

Likes : 502

DisLikes : 6

Published Date : 2012-09-08T16:01:47.000Z

The extreme virtuosity of the young Kirkland in Balanchine's Theme and Variation (Tchaikovsky), American Ballet Theater, 1978.
    

Channel Title : shortermusic

Views : 19519

Likes : 85

DisLikes : 3

Published Date : 2011-09-22T23:47:35.000Z

CS Theme and Variations, Op. 6 (1985) Randall Compton (b. 1954) Rebekah Jordan-Miller, piano Jerico Vasquez, piano Shorter University Faculty Gala: August 29, 2011
    

Channel Title : ValentinaLisitsa

Views : 555644

Likes : 3758

DisLikes : 68

Published Date : 2013-01-19T17:22:43.000Z

Live footage from the recording session. London Symphony Orchestra , Michael Francis conducting. The recording is available now on Decca. Get yours today! :-) iTunes: http://smarturl.it/paganinirhapsody Amazon: http://smarturl.it/LisitsaPaganini
    

Channel Title : Yoctocosmos L'Establishment

Views : 2454

Likes : 32

DisLikes : 3

Published Date : 2013-01-26T22:29:24.000Z

    

Channel Title : Classical Music goturhjem2

Views : 295623

Likes : 1197

DisLikes : 34

Published Date : 2012-07-26T18:50:25.000Z

Berliner Philharmoniker - Claudio Abbado The Variations on a Theme by Joseph Haydn, (German: Variationen über ein Thema von Jos. Haydn), now also called the Saint Anthony Variations, is a work in the form of a theme and variations, composed by Johannes Brahms in the summer of 1873. It consists of a theme in B-flat major based on a "Chorale St Antoni", eight variations and a finale. The work was published in two versions: for two pianos, written first but designated Op. 56b; and for orchestra, designated Op. 56a. The orchestral version is better known and much more often heard than the two-piano version. It is often said to be the first independent set of variations for orchestra in the history of music[1], although there is at least one earlier piece in the same form, Antonio Salieri's Twenty-six Variations on 'La folia di Spagna' written in 1815. Brahms's orchestral variations are scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns (2 in E flat, 2 in B flat), 2 trumpets, timpani, triangle, and the normal string section of first and second violins, violas, cellos and double basses. The piece usually takes about 18 minutes to perform. The first performance of the orchestral version was given on 2 November 1873 by the Vienna Philharmonic Orchestra under Brahms's baton.
    

Channel Title : CPGreeno357

Views : 2672645

Likes : 28674

DisLikes : 900

Published Date : 2016-03-05T03:01:30.000Z

A few of the variations of the Gravity Falls Theme Song I do not own Gravity Falls. All rights to Alex Hirsch and Disney. Music by Brad Breeck. Some of the videos belongs to: TheMysteryofGF (SDCC Trailers, Shacktron vs Henchmaniacs w/o original audio, Gravity Paws, Short into, and Weirdmaggedon intros) EpicSonicFTW (Weirdmaggedon 8-bit) EarthboundFanBro (Original Theme)
    

Channel Title : SiccasGuitars

Views : 599419

Likes : 3860

DisLikes : 119

Published Date : 2015-04-14T17:44:36.000Z

Ana Vidovic plays introduction and variations on a Theme by Mozart Op 9 by Fernando Sor. Follow us on Facebook, Twitter, Instagram and on our website: https://www.siccasguitars.com https://twitter.com/siccasguitars https://www.instagram.com/siccasguitars/ https://www.facebook.com/siccasguitars/ Don't forget to like, comment, share and subscribe the channel #classicalguitar #guitareclassique #クラシックギター
    

Channel Title : Kontorabasukurarinetto

Views : 562

Likes : 11

DisLikes : 0

Published Date : 2017-11-29T19:39:43.000Z

Shostakovich's Opus 3 was written in his third year at the Petrograd Conservatory, dedicated to his professor in counterpoint and fugue Nikolai Sokolov, who had recently passed. It is heavily Romantic, much like his earlier student pieces. Note: I have no idea what the deal with 7:42 is. That trombone line is not in later editions of the piece. Gennady Rozhdestvensky conducts the USSR Ministry of Culture Symphony Orchestra.
    

Channel Title : MostlyViolin

Views : 121511

Likes : 1111

DisLikes : 41

Published Date : 2012-06-11T21:36:38.000Z

    

Channel Title : 169Tom

Views : 76958

Likes : 1153

DisLikes : 8

Published Date : 2017-02-26T06:17:27.000Z

Just by the way, Kaede and Rantaro being shown for Danganronpa V3 does not mean that the theme is associated with them the most. I’m keeping those characters for all Danganronpa V3 themes in these compilations because many of us, including myself, have yet to know the situations these themes play in, and the trailers have made Kaede and Rantaro seem to be important characters. (Kaede has been advertised to be the protagonist, and Rantaro has the Ultimate ??? ability, in which characters with that talent have been essential characters in the previous two games.) 01) 0:00 Danganronpa: Trigger Happy Havoc - New World Order 02) 4:42 Danganronpa: The Animation - New World Order (The Animation) 03) 6:52 Danganronpa Another Episode: Ultra Despair Girls - DSO - New World Order 04) 9:27 Danganronpa 3: The End of Hope’s Peak Academy - Old World Order 05) 11:35 Danganronpa V3: Killing Harmony - New World Order V3 Developer(s): Spike Chunsoft Publisher(s): Spike Chunsoft Composer(s): Masafumi Takada -- Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. -- Full playlist of Danganronpa music compilations: https://www.youtube.com/playlist?list=PLsKjksKouJ615Rx7ZZbbg_HlHVFRjujFm
    

Channel Title : belowthehill

Views : 1405

Likes : 9

DisLikes : 0

Published Date : 2009-12-21T18:25:37.000Z

By David Bobrowitz George Washington Middle School Symphonic Band Winter Concert 2009
    

Channel Title : MartialVidz

Views : 1452315

Likes : 6733

DisLikes : 241

Published Date : 2013-07-13T17:28:00.000Z

Sakari Oramo: Conductors - The BBC Symphony Orchestra Rachmaninov: Rhapsody on a Theme of Paganini - BBC Proms 2013 (Stephen Hough : Piano ) Sakari Oramo: conductor (The BBC Symphony Orchestra's Chief Conductor ) Presenter: Katie Derham at the Royal Albert Hall - London 2013 Source Info: www.bbc.co.uk
    

Channel Title : voisong

Views : 84518

Likes : 649

DisLikes : 43

Published Date : 2009-04-10T05:26:06.000Z

Live recording from the Pittsburgh Concert Society Young Artist 2009 Winners Recital at Kresge Hall, Carnegie Mellon University. These variations on a Paganini theme were written by Isak Berkovich. Sasha Voinov studied at the City Music Center - piano with Natasha Snitkovsky, violin with Peter Snitkovsky and composition with Israel Kremen.
    

Channel Title : Opermuzikant

Views : 21466

Likes : 188

DisLikes : 6

Published Date : 2015-04-26T19:06:31.000Z

    

Channel Title : soichi1228

Views : 181551

Likes : 835

DisLikes : 21

Published Date : 2007-09-30T14:30:59.000Z

Vn:David Oistrakh Pf:Frida Bauer
    

Channel Title : Brett Van Gansbeke, D.M.

Views : 4099

Likes : 52

DisLikes : 1

Published Date : 2014-09-07T01:39:24.000Z

Theme and Variations for bassoon and piano by Balys Dvarionas Dr. Brett Van Gansbeke, bassoon Michael Hanson, piano Recorded May 31, 2013 Ford-Crawford Hall Indiana University's Jacobs School of Music http://www.orchestralbassoon.com
    

Channel Title : baja0270

Views : 35213

Likes : 117

DisLikes : 21

Published Date : 2011-10-22T17:44:24.000Z

Rare performance video from "Return of Master" at Kirov. This is the second play from the evening:"Theme and Variations" to music by Tchaikovsky. Directed by George Balanchine Cast: Ballet of Leningrad State Academic Opera and Ballet Theatre. Kirov Soloists: Larissa Lezhnina, Margaret Kullik, Elena Pankov, Alexander Kurkov, Tatiana Terekhova, Eldar Aliev, Olga Chenchikova, Mahar Vaziev, Farukh Ruzimatov Description: Two one-act ballet choreographer George Balanchine: 1. "Scotch Symphony" to music by Felix Mendelssohn 2. "Theme and Variations" to the music of Peter Tchaikovsky Orchestra of the Leningrad State Academic Opera and Ballet Theatre. Kirov
    

Channel Title : olla-vogala

Views : 207439

Likes : 1663

DisLikes : 31

Published Date : 2015-09-30T19:39:11.000Z

- Composer: Sir Edward William Elgar, 1st Baronet, OM, GCVO (2 June 1857 -- 23 February 1934) - Orchestra: Royal Philharmonic Orchestra - Conductor: Andrew Litton - Year of recording: 1987 Enigma Variations, for orchestra, Op. 36, written in 1898-1899. 00:00 - Theme (Andante) 01:26 - Variation I (L'istesso tempo) "C.A.E." 03:22 - Variation II (Allegro) "H.D.S.-P." 04:06 - Variation III (Allegretto) "R.B.T." 05:27 - Variation IV (Allegro di molto) "W.M.B." 05:58 - Variation V (Moderato) "R.P.A." 08:08 - Variation VI (Andantino) "Ysobel" 09:34 - Variation VII (Presto) "Troyte" 10:31 - Variation VIII (Allegretto) "W.N." 12:26 - Variation IX (Adagio) "Nimrod" 16:14 - Variation X (Intermezzo: Allegretto) "Dorabella" 18:56 - Variation XI (Allegro di molto) "G.R.S." 19:56 - Variation XII (Andante) "B.G.N." 22:30 - Variation XIII (Romanza: Moderato) "* * *" 25:26 - Variation XIV (Finale: Allegro Presto) "E.D.U." At the end of an overlong day laden with teaching and other duties, Edward Elgar lit a cigar, sat at his piano and began idling over the keys. To amuse his wife, the composer began to improvise a tune and played it several times, turning each reprise into a caricature of the way one of their friends might have played it or of their personal characteristics. "I believe that you are doing something which has never been done before," exclaimed Mrs. Elgar. Thus was born one of music's great works of original conception, and Elgar's greatest large-scale "hit": the Enigma Variations. The enigma is twofold: each of the 14 variations refers to a friend of Elgar's, who is depicted by the nature of the music, or by sonic imitation of laughs, vocal inflections, or quirks, or by more abstract allusions. The other enigma is the presence of a larger "unheard" theme which is never stated but which according to the composer is very well known. The identity of the phantom tune left the world with the composer, and guesses have ranged from "God Save the King", "Ein Feste Burg" and "Auld Lang Syne" to a simple major scale. This apparatus aside, the variations contain some of the most charming and deeply felt music Elgar ever penned, more than redeeming the work from the status of mere gimmickry. The main theme is hesitating, lean and haunting, and is reprised with the passionate first variation that represents Caroline, the composer's wife, a constant source of encouragement and inspiration. The remaining variations are as follows: - II. H.D.S.-P. -- Hew Stuart-Powell, a pianist with whom Elgar played chamber music. - III. R.B.T. -- Richard Townsend, whose vocal pitch would rise when excited. - IV. W.M.B. -- William Baker, who after barking out plans for the day would leave the room with a vigorous door-slam - V. R.P.A. -- Richard Arnold, son of the writer Matthew Arnold, who would punctuate serious discourse with a nervous laugh. - VI. Isobel Fitton, a violist. - VII. Troyte -- Arthur Griffith, an architect and raucous pianist. - VIII. W.N. -- Winifred Norbury, a gracious and gentle friend. - IX. Nimrod -- Augustus Jaeger, Elgar's close friend. The most beautiful and famous of the variations, this music describes a nighttime walk when Jaeger gave verbal encouragement to composer, recalling Beethoven's determination in adversity. "Jaeger" means "hunter in German, and Nimrod was a biblical hunter. - X. Dorabella -- Dora Penny, whose infectious laugh is depicted in the woodwinds. - XI. G.R.S. -- George Sinclair, an organist depicted frolicking with his bulldog, Dan. - XII. B.G.N. -- Basil Nevinson, a cellist. - XIII. *** -- The identity of this person is not known, but she is thought to have been on an ocean voyage at the time -- this divined from a quote from Mendelssohn's "Calm Sea and Prosperous Voyage." - XIV. E.D.U. -- Elgar himself. "Edu" was Caroline's nickname for her husband. This heartily extroverted, even boisterous, finale ties together the first variation and the Nimrod themes, as though to suggest that the composer has taken advice to heart and is determined to succeed. The entry of an organ in the final measures brings the work to a confident, happy close. More information on Elgar's "Dorabella Cipher" and the 'unheard' theme in the Enigma Variations: http://nautil.us/issue/6/secret-codes/the-artist-of-the-unbreakable-code

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