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Mozart - Violin Concerto No.1 . Violin Concerto No.2

[50 subscribers] - Violin Concerto

You got here probably cause the Youtube's one got copyrighted right? :D Go ahead xD

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Bruch Violin Concerto Nº 1

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Tchaikovsky Piano Concerto nº1 Op.23. 1er tiempo

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Mozart Violin Concerto No. 2 - Vengerov

Mozart Violin Concerto No. 2 - Vengerov

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HENRI DUTILLEUX VIOLIN CONCERTO RENAUD CAPUÇON & OCTOULOUSE T.SOUKHIEV dir LIVE 2012 NEW

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La Orquesta de París y Lisa Batiashvili, dirigidos por Klaus Mäkelä ensayan el Concierto para Violín de Tchaïkovsky

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Crédito: Orchestre de París

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Oh..! HILARY HAHN & FRANKFURT RSyO PAAVO JäRVI dir. BRAHMS CONCERTO Op.77 + encore LIVE april 2014

The technical demands on the soloist are formidable, with generous use of multiple stopping, broken chords, rapid scale passages, and rhythmic variation. The difficulty may to some extent be attributed to the composer's being chiefly a pianist.[citation needed]

Nevertheless, Brahms chose the violin-friendly key of D major for his concerto. Since the violin is tuned G'D'A'E, the open strings, resonating sympathetically, add brilliance to the sound. For the same reason, composers of many eras (e.g. Bach, Mozart, Beethoven, Schumann, Tchaikovsky, Sibelius, Prokofiev, Korngold and Khachaturian) have written violin concertos in either D major or D minor. (Wikipedia)

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Música Instrumental Para Descansar

Música instrumental para descansar ✔

Piano instrumental


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Hilary Hahn 1

Brahms - Violin Concerto in D Major,Op 77 : I Allegro ma non troppo

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SHOSTAKOVICH CHAMBER SYMPHONY (TRANSCRIPTION OF R.BARSHAI) RFrPhO HEINZ HOLLIGER dir. LIVE 1996

The first movement opens with the DSCH motif which was Shostakovich's musical signature. This slow, extremely sad theme can also be heard in his Cello Concerto No. 1, Symphony No. 10, Violin Concerto No. 1, Symphony No. 15, and Piano Sonata No. 2. The motif is used in every movement of this quartet, and is the basis of the faster theme of the third movement.
The final statement of the DSCH motif at the end of the fifth movement
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The work is filled with quotations of other pieces by Shostakovich: the first movement quotes his Symphony No. 1 and Symphony No. 5; the second movement uses a Jewish theme first used by Shostakovich in his Piano Trio No. 2; the third movement quotes the Cello Concerto No. 1; and the fourth movement quotes the 19th century revolutionary song "Tormented by Grievous Bondage" and the aria Seryozha, my love from Shostakovich's opera, Lady Macbeth of the Mtsensk District. The fifth contains a play upon a motive also from Lady Macbeth.
It has been transcribed by Rudolf Barshai for string orchestra, in which version it is known as Chamber Symphony in C minor (Op. 110a). (Wikipedia)

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TCHAIKOWSKY SUITE Nº3 Op.55 ORCHESTRE DE PARIS ANDREY BOREYKO dir.LIVE june 12 -, 2013

"I meant to write a symphony, but the title is of no importance", Tchaikovsky wrote Sergei Taneyev. When he had gone to the Davidov family estate at Kamenka in the Ukraine, he had contemplated ideas for a piano concerto and a symphony. Neither plan really materialized the way the composer intended. He quickly recognized his ideas for the symphony were better suited for an orchestral suite like the two he had previously written. The problem lay with the opening movement. Titled Contrastes, it was to be a fantasia of contrasting musical sounds and patterns, not unlike the Jeu de sons movement that opened the Second Orchestral Suite. The more he worked with the music, the more recalcitrant the music became and the more he hated it. Contrastes finally found its way into the Concert Fantasia.
Tchaikovsky's original layout for the Third Suite was similar to that of his Second—a fairly large opening movement as in his first two orchestral suites, then three smaller ones and a theme–and–variations finale. The developments that Contrastes underwent, while good for the Concert Fantasia, left the suite unbalanced, with three small-scale movements followed by a theme-and-variations movement as large as all three previous movements placed together. Even without Contrastes, the suite remains a long work.
Wiley writes that Tchaikovsky composed the scherzo first. The theme-and-variation finale came last, beginning with the concluding polonaise. This, he says, might have helped the composer clarify his strategy in pacing the movement and guiding its overall momentum. He also links the theme of the finale to the other movements: "its opening chord is presented as a triad with added sixth, [which he used for the scherzo immediately preceding it] and, like the [opening] Elegie, the movement is resolutely melodic..
Wiley also says the quality of Prelest' (meaning "charming" or "pleasing") in the Third Suite "is too prominent for a symphony, while at the same time the suite's coherence advances well beyond the casual miscellency of the Second." This continuity, he suggests, "casts doubt on the freedom he so cherished when writing the First Suite six years earlier." The Third Suite, Wiley adds, is also much darker music in tone than in the two suites that preceded it.
In the fourth variation (pochissimo meno animato, B minor) of the fourth movement, a quotation of the Dies Irae theme is distinctly heard. (Wikipedia)

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