More than 3,5 hours of the most famous and recognizable classical music recordings.The best of classical music for studying, reading, relaxing and (most of all) enjoying!
Tracklist:
0:00 P.I. Tchaikovsky – Swan Lake, Act II: No.10 Scene (Moderato)
02:42 Edvard Grieg – Morning Mood
06:22 Ludwig van Beethoven – Für Elise (Bagatelle No.25 in A minor)
08:51 Frederic Chopin — Nocturne in C-sharp minor
12:56 Georges Bizet — Habanera («Lamour est un oiseau rebelle»)
14:58 W.A. Mozart — Rondo alla Turca («Turkish March»)
18:33 Ludwig van Beethoven — Moonlight Sonata (The Piano Sonata No. 14 in C♯ minor «Quasi una fantasia», Op. 27, No. 2)
23:47 Antonio Vivaldi – The Four Seasons “Summer” (III: Presto)
26:24 P.I. Tchaikovsky – Dance Of The Sugar Plum Fairy
28:10 Federic Chopin – Prelude Op.28, no.4
30:44 Gioachino Rossini – Overture to “The Barber of Seville”
36:29 Jahannes Brahms – Hungarian Dance no.5 in F-sharp minor (fragment)
37:06 W.A Mozart – Eine kleine Nachtmusik (Serenade No. 13 for strings in G major)
42:54 J.S.Bach – Air on the G string (from Orchestral Suite No.3, BWV 1068)
45:47 W.A. Mozart – Symphony No.40 in G minor (1. Molto allegro)
51:44 Erik Satie – Gymnopedie no.1
54:56 Johann Strauss II – “Frühlingsstimmen”, Op. 410 («Voices of Spring»)
1:01:31 Frederic Chopin – Nocturne in B-flat minor, Op. 9, no.1
1:07:07 P.I. Tchaikovsky – The Nutcracker: Act I, No.4 Russian Dance
1:08:08 J.S.Bach – Orchestral Suite no.2 in B minor (7.Badinerie)
1:09:07 Gioachino Rossini – William Tell Overture
1:14:55 Antonin Dvorak – Symphony no. 9 in E minor («From the New world»: IV. Allegro con fuoco)
1:26:39 P.I. Tchaikovsky – The Nutcracker: Act I, No. 8 Waltz of the Flowers
1:31:47 Richard Wagner – Ride of the Valkyries
1:37:08 Ludwig van Beethoven — Sonata No. 8 in C Minor Pathetique, Op. 13 (II. Adagio cantabile)
1:42:08 Johann Strauss II – «An der schönen blauen Donau» (The Blue Danube),Op.314
1:49:19 Erik Satie – Gnossienne No.1
1:52:42 Edvard Grieg – In the Hall of the Mountain King
1:54:58 Frederic Chopin – Nocturne in E-flat major, Op. 9, No. 2
1:59:30 Antonio Vivaldi – The Four Seasons “Autumn” (1. Allegro)
2:04:30 Franz Liszt – Liebestraume no. 3 in A flat major
2:09:00 W.A. Mozart – Piano Concerto no.21 in C major (II. Movement)
2:13:19 Ludwig van Beethoven – The Symphony No.5 in C minor (fragment)
2:20:10 Claude Debussy – Clair de lune (from «Suite bergamasque»)
2:25:12 N.Rimsky-Korsakov – Flight of the Bumblebee (from “The Tale of Tsar Saltan)
2:26:28 P.I. Tchaikovsky – The Nutcracker: Act I, No. 2 (March)
2:28:25 Edvard Grieg — Notturno, Op.54, No.4
2:32:45 Felix Mendelssohn – Wedding March (from “A Midsumer Night’s Dream”)
2:37:46 Georges Bizet – Prelude to Act 1 for “Carmen”
2:40:02 Antonio Vivaldi – The Four Seasons “Spring” (1.Allegro)
2:43:36 Erik Satie – Gnossienne No.3
2:46:17 Johann Strauss II – Künstlerleben («Artists Life»), op.316
2:49:08 Frederic Chopin – “Revolutionary Etude” (Etude Op.10, No.12)
2:51:51 Luigi Boccherini – Minuet from String Quintet in E, Op. 11, No.5 (G 275)
2:54:00 Ludwig van Beethoven – Ode to Joy (from Symphony no. 9 in D minor)
2:57:53 Richard Strauss – Also sprach Zarathustra
2:59:14 Frederic Chopin – Waltz in D-flat major, Op 64, No 1 («Minute Waltz»)
3:01:00 Tomaso Albinoni — Adagio in G minor (attributed to Tomaso Albinoni, but actually proabably composed by Remo Giazotto).
3:04:29 Modest Mussorgsky – Night on Bald Mountain
3:11:49 Johann Strauss II – “Wiener Blut”, Op. 354
3:13:24 J.S.Bach – Toccata and Fugue in D minor, BWV 565
3:16:29 Jacques Offenbach – Overture to “Orpheus in the Underworld” (can-can section)
3:18:14 Leo Delibes – Pizzicato (from “Sylvia”)
3:20:09 Frederic Chopin – Funeral March (Piano Sonata No.2 in B flat minor Op 35: III. Marche Funebre)
3:29:33 W.A. Mozart – Requiem in D minor
3:33:01 J.S.Bach – Prelude in C major

Every composition from this video exists as a public domain or creative common content.

The fragment of Debussys «Suite bergamasque» performed by Laurens Goedhart.
Liszts «Liebesträume» performed by Martha Goldstein.
Griegs Notturno performed by Mark Gasser.
Piano versions of Mozarts «Requiem in D minor» and Piano «Concerto no.21 in C major» performed by Markus Staab.
Saties «Gnossiennes» performed by La Pianista.
Richard Wagners «Also Sprach Zarathustra» performed by Kevin MacLeod.
The fragments of Vivaldis «Spring», «Summer» and «Autumn» performed by John Harrison.

More public domain and creative commons music you can find on Musopen website.

To follow me and my playlists on Spotify enter: spotify:user:1190084485 into your searchbar!

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Personal Notes

✪ A reposted version of «Tundra» after a copyright strike got the other one pulled
✪ «Tundra» won out in the recent poll as to which of the 3 removed songs should be restored 1st
✪ The Strike itself did NOT come from Bethesda or Jeremy Soule
✪ To my surprise, last March, Mr. Soule actually reached out to me, to compliment the channel
✪ ...and as for your continued support, I thank all of you. :-)
✪ I wish this was a immersive as the first video but I had to use alternative footage

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Legal:

✪ Non-Monetized Video on a Monetized Account
✪ Any revenue generated is property of Bethesda

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Audio Credits:

Composed by: Jeremy Soule
From: The Elder Scrolls V — Skyrim
Disc: 2 of 4
Track: 15 of 16
Original Length: 3:51
Album Runtime: 218 Minutes

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Purchase Details:

Amazon Page: goo.gl/ybx0HC
ASIN: B006P35Z0Q

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Source Details

From the Video Game «Skyrim»
▶ Developed by: Bethesda Game Studios (A Division of Bethesda Softworks LLC)
▶ Published by: Bethesda Softworks LLC (A Subsidiary of Bethesda Game Studios)
© 2011, Bethesda Softworks LLC (A subsidiary of «ZeniMax Media»)

Download this songs canticum.bandcamp.com/album/erik-satie-gymnop-dies
Download sheet music for piano gumroad.com/l/IgrYP

Alfred Eric Leslie Satie (Honfleur, 17 May 1866 — Paris, 1 July 1925) was a French composer and pianist. Starting with his first composition in 1884, he signed his name as Erik Satie.

Satie was introduced as a «gymnopedist» in 1887, shortly before writing his most famous compositions, the Gymnopédies. Later, he also referred to himself as a «phonometrograph» or «phonometrician» (meaning «someone who measures (and writes down) sounds») preferring this designation to that of «musician,» after having been called «a clumsy but subtle technician» in a book on contemporary French composers published in 1911.

In addition to his body of music, Satie also left a remarkable set of writings, having contributed work for a range of publications, from the dadaist 391 to the American Vanity Fair. Although in later life he prided himself on always publishing his work under his own name, in the late nineteenth century he appears to have used pseudonyms such as Virginie Lebeau and François de Paule in some of his published writings.

Satie was a colourful figure in the early 20th century Parisian avant-garde. He was a precursor to later artistic movements such as minimalism, repetitive music and the Theatre of the Absurd.
The Gymnopédies, published in Paris starting in 1888, are three piano compositions written by French composer and pianist, Erik Satie.

These short, atmospheric pieces are written in 3/4 time, with each sharing a common theme and structure. Collectively, the Gymnopedies are regarded as the precursors to modern ambient music[citation needed] — gentle yet somewhat eccentric pieces which, when composed, defied the classical tradition. For instance, the first few bars feature a disjunct chordal theme in the bass — first, a G-major 7th in the bass, and then a B-minor chord, also in the lower register. Then comes the one-note theme in D major. Although the collection of chords at first seems too complex to be harmonious, the melody soon imbues the work with a soothing atmospheric quality.

Satie himself used the term «furniture music» to refer to some of his pieces, implying they could be used as mood-setting background music. However, Satie used this term to refer to only some of his later, 20th century compositions, without specific reference to the Gymnopédies as background music. From the second half of the 20th century on, the Gymnopédies were often erroneously described as part of Saties body of furniture music, perhaps due to John Cages interpretation of them.
Some of the paintings are from Édouard Cortèss
— Gymmopedie No. 1.
— Gnossienne No. 1
— Gnossienne No. 3
-GnossienneNo. 4
— Gnossienne No. 2

James Gaffigan dirige lOrchestre national de France et le Choeur de Radio France dans le Requiem en ré mineur K.626 de Wolfgang Amadeus Mozart, avec la soprano Marita Solberg, la mezzo-soprano Karine Deshayes, le ténor Joseph Kaiser, et la basse Alexander Vinogradov. Concert enregistré le 29 juin 2017 en direct de la basilique de Saint-Denis dans le cadre du Festival de saint-Denis.

#Mozart #MozartRequiem #OrchestreNationalDeFrance

00:00 — Début du concert
01:19 — I. Introïtus
02:00 — Requiem
05:46 — II. Kyrie
08:13 — III. Sequentia. Dies Irae
10:09 — Tuba mirum
13:29 — Rex tremendae
15:31 — Recordare
20:27 — Confutatis
22:49 — Lacrimosa
25:52 — IV. Offertorium Domine Jesu Hostias
32:52 — V. Sanctus
34:30 — VI. Benedictus
38:52 — VII. Agnus Dei
41:45 — VIII. Communio — Lux Aeterna

A propos de l’œuvre:

Mozart croule sous les problèmes quand il entreprend l’écriture de son Requiem en 1791. Accablé par les dettes, le maestro viennois est aussi gravement malade. Pour ajouter à son malheur, sa musique ne séduit plus, la fréquentation de ses concerts diminue.

On ne compte plus les légendes qui entourent le contexte de création de l’œuvre. Mais parmi elles, une vérité se dessine. Le commanditaire de l’œuvre serait le comte von Walsegg, désireux d’obtenir une messe des morts pour célébrer le souvenir de son épouse, tout juste disparue. La demande est faite à Mozart de manière anonyme. Le comte souhaitait en effet se faire passer pour lauteur de l’œuvre, une supercherie dont il était familier!

Épuisé, Mozart s’éteint le 5 décembre 1791 à lâge de 35 ans. S’il a probablement composé entièrement les deux premières parties de l’œuvre, l’Introïtus et le Kyrie, le reste a été repris en main par l’un de ses élèves, Franz-Xaver Süssmayr, à partir d’esquisses plus ou moins détaillées.

Distribution:

Marita Solberg, soprano
Karine Deshayes, mezzo-soprano
Joseph Kaiser, ténor
Alexander Vinogradov, basse
Chœur de Radio France,
Nicolas Fink, chef de chœur
Orchestre National de France,
James Gaffigan, direction

A propos du compositeur Wolfgang Amadeus Mozart (1756 — 1791):

Wolfgang Amadeus Mozart est l’un des compositeurs les plus importants de l’histoire de la musique occidentale, et la figure majeure de la période du classicisme. Il fait partie avec Haydn et Beethoven de la « triade classique viennoise », incarnant l’un des trois maîtres dont l’influence a été la plus considérable sur les générations suivantes de compositeurs. Virtuose du clavecin et du violon, il connaît un succès précoce et une carrière fulgurante, en portant toutes les formes musicales existantes à un état d’accomplissement inégalé.

Retrouvez tous les concerts filmés de France Musique sur www.francemusique.fr/concerts

Pour plus de contenu France Musique rendez-vous sur le site www.francemusique.fr/

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NEW AMAZING MUSIC-VIDEO ON THIS CHANEL
youtu.be/ZCPWPh06FwE — Benjamin Britten
youtu.be/BK3aTsBKj9M — Arshia Samsaminia
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J.S.Bach HARPSICHORD Concerto in D Minor BWV 1052 Polina Osetinskaya piano
The Mariinsky String Orchestra
Conductor: Anton Gakkel www.antongakkel.org/
St.Petersburg, Mariinsky Theatre, Concert Hall 29.03.2015
0:05 — 1mvt / 8:15 — 2mvt / 16:13 — 3mvt
The life of pianist Polina Osetinskaya can be divided into two stages. The first – that of “wunderkind” (a word that Polina herself cannot abide) – was when Polina performed as a girl in huge halls filled with excited sensationalists. The second, which has continued to the present day, is essentially her victory over the first. It is both a reference to serious performing and to exacting audiences.
Polina Osetinskaya began to perform at the age of five. At the age of seven she entered the Central School of Music of the Moscow Conservatoire. Polina gave her first concert at the age of six at the Great Hall of the Vilnius Conservatoire in Lithuania. Together with her father who accepted the role of manager, the young Polina began to undertake frequent tours throughout the former USSR to packed halls and ovations. In her own country Polina was possibly the most famous child of her time and her relationship with her father was portrayed by the mass media as some kind of soap opera after the thirteen-year-old Polina decided to leave her father and study music seriously at the school of the Leningrad Conservatoire under the acclaimed teacher Marina Wolf.
Polina began to tour once again while still a student at the St Petersburg Conservatoire. (The pianist subsequently completed a postgraduate course at the Moscow Conservatoire under Professor Vera Gornostayeva.) She has appeared with the Tokyo Philharmonic Orchestra, the Orchestra of the Weimar National Opera, the Academic Symphony Orchestra of the St Petersburg Philharmonic (Honoured Ensemble of Russia), the State Academic Svetlanov Symphony Orchestra, the Moscow Virtuosi and the New Russia orchestra among other ensembles.
Polina Osetinskaya’s onstage partners have included conductors Saulius Sondeckis, Vassily Sinaisky, Andrei Boreiko, Gerd Albrecht, Yan Pascal Tortelier and Thomas Sanderling. Polina Osetinskaya has performed at the Wallonie Festival in Brussels, the Mainly Mozart festival, the Frédéric Chopin Festival in Miami, the Stars of the White Nights festival and the December Evenings festival among numerous others.
The pianist has been awarded the Maly Triumph prize. In 2008 she wrote her autobiography Farewell, Sadness, which became a bestseller.
Polina Osetinskaya generally creates unusual and frequently paradoxical solo programmes. She almost always includes works by contemporary composers, frequently justaposing them with traditional classical works: “Contemporary music is not just a continuation of older music. It also helps us discover ideas and beauty in older music that have been lost over decades of the blind museum generation and mechanical and often soulless performing.”
Polina Osetinskaya often performs works by post-avant-garde composers such as Valentin Silvestrov, Leonid Desyatnikov, Vladimir Martynov, Georgs Pelēcis and Pavel Karmanov.

The pianist collaborates with many recording companies including Naxos, Sony Music and Bel Air.
#polinaosetinskaya #musicaaldente #полинаосетинская #бах