Beethoven 5th Symphony, 1st. mov.:Allegro con brio Chamber Orchestra of Europe, Nikolaus Harnoncourt Graz 2007.
Beethoven 5th Symphony 1st. mov. Chamber Orchestra of Europe Harnoncourt stanlefo
Ludwig van Beethoven: Egmont Overture Op.84 Chamber Orchestra of Europe Nikolaus Harnoncourt, Conductor Live at Minoritensaal, Graz
Ludwig van Beethoven Nikolaus Harnoncourt Chamber Orchestra of Europe lyricpost
Making of Beethoven Nikolaus Harnoncourt probt Beethovens 5. Symphonie bei der styriarte 2007
premiere_elements_7 Harnoncourt styriarte Beethoven Ludwig Van Beethoven Beethoven (film) Rehearsal Film festival Nikolaus Harnoncourt Chamber Orchestra of Europe
Antonin Dvořák (1841-1904) Symphony No.8 in G major, op.88 Nikolaus Harnoncourt Wiener Philharmoniker Musikverein, Vienna, 26 9/2004
Classical Dvořák Symphony Harnoncourt Wiener Philharmoniker Vienna Philharmonic Orchestra クラシック ドヴォルザーク 交響曲 アーノンクール ウィーン・フィルハーモニー管弦楽団 magischmeisjeorkest
Anton Bruckner (1824-1896) Symphony No.7 in E major, WAB107 Nikolaus Harnoncourt Wiener Philharmoniker Festspielhaus, Salzburg, 26 8/2007
Classical Bruckner Symphony Harnoncourt Wiener Philharmoniker Vienna Philharmonic Orchestra クラシック ブルックナー 交響曲 アーノンクール ウィーン・フィルハーモニー管弦楽団 magischmeisjeorkest
Brahms: Symphony Number 1 (Opus 68); Nikolaus Harnoncourt and the Berlin Philharmonic; Exclusive interview and rehearsal footage of this classics Teldec recording; Download: phobos.apple.com Buy collection: www.amazon.co.uk Find more at www.warnerclassicsandjazz.com
Brahms Symphony number Berlin Philharmonic classical music Nikolaus Harnoncourt Harnoncourt Joseph Brahms Teldec opus 68 interviews Warner Classics Jazz
Felix Mendelssohn (1809-1847) Ein Sommernachtstraum op.61 Soprano: Julia Kleiter Alto: Elisabeth von Magnus Nattator: Gerd Böckmann Netherlands Kamerkoor Nikolaus Harnoncourt Royal Concertgebouw Orchestra Concertgebouw, Amsterdam, 26 4/2009
Classical Mendelssohn Ein Sommernachtstraum A Midsummer Night's Dream Harnoncourt Royal Concertgebouw Orchestra Koninklijk Concertgebouworkest Amsterdam クラシック メンデルスゾーン 真夏の夜の夢 アーノンクール ロイヤル・コンセルトヘボウ管弦楽団 アムステルダム magischmeisjeorkest
Robert Schumann (1810-1856) Symphony No.1 in B flat major, op.38 "Frühling" Nikolaus Harnoncourt Royal Concertgebouw Orchestra Concertgebouw, Amsterdam, 2 5/2004
Classical Schumann Symphony Frühling Spring Harnoncourt Royal Concertgebouw Orchestra Koninklijk Concertgebouworkest Amsterdam クラシック シューマン 交響曲 春 アーノンクール ロイヤル・コンセルトヘボウ管弦楽団 アムステルダム magischmeisjeorkest
Antonin Dvořák (1841-1904) Slavonic Dances op.72 Nikolaus Harnoncourt Wiener Philharmoniker Musikverein, Vienna, 29 8/2004
Classical Dvořák Slavonic Dances Harnoncourt Wiener Philharmoniker Vienna Philharmonic Orchestra クラシック ドヴォルザーク スラヴ舞曲 アーノンクール ウィーン・フィルハーモニー管弦楽団 magischmeisjeorkest
Franz Schubert (1797-1828) Mass No.6 in E flat major, D.950 Soprano: Miah Persson Alto: Elisabeth von Magnus Tenor: Werner Güra Tenor: Scot Weir Bass: Franz-Josef Selig Netherlands Kamerkoor Nikolaus Harnoncourt Royal Concertgebouw Orchestra Concertgebouw, Amsterdam, 22 10/2004
Classical Schubert Mass Harnoncourt Royal Concertgebouw Orchestra Koninklijk Concertgebouworkest Amsterdam クラシック シューベルト ミサ曲 アーノンクール ロイヤル・コンセルトヘボウ管弦楽団 アムステルダム magischmeisjeorkest
Bedrich Smetana Die Moldau Chamber Orchestra of Europe Nikolaus Harnoncourt Graz 2010
Smetana Die Moldau Chamber Orchestra of Europe Harnoncourt stanlefo
In memory of Carlos Kleiber Wolfgang Amadeus Mozart (1756-1791) Maurerische Trauermusik K.477 Nikolaus Harnoncourt Wiener Philharmoniker Musikverein, Vienna, 26 9/2004
Classical Mozart Maurerische Trauermusik Harnoncourt Wiener Philharmoniker Vienna Philharmonic Orchestra Kleiber クラシック モーツァルト フリーメイソンの葬送音楽 アーノンクール ウィーン・フィルハーモニー管弦楽団 クライバー magischmeisjeorkest
Robert Schumann (1810-1856) Symphony No.3 in E flat major, op.97 "Rheinische" Nikolaus Harnoncourt Royal Concertgebouw Orchestra Concertgebouw, Amsterdam, 28 11/2004
Classical Schumann Symphony Rheinische Harnoncourt Royal Concertgebouw Orchestra Koninklijk Concertgebouworkest Amsterdam クラシック シューマン 交響曲 ライン アーノンクール ロイヤル・コンセルトヘボウ管弦楽団 アムステルダム magischmeisjeorkest
Wolfgang Amadeus Mozart (1756-1791) Symphony No.35 in D major, K.385 "Haffner" Nikolaus Harnoncourt Wiener Philharmoniker Festspielhaus, Salzburg, 22 1/2000
Classical Mozart Symphony Haffner Harnoncourt Wiener Philharmoniker Vienna Philharmonic Orchestra クラシック モーツァルト 交響曲 ハフナー アーノンクール ウィーン・フィルハーモニー管弦楽団 magischmeisjeorkest
Anton Bruckner (1824-1896) Symphony No.5 in B flat major, WAB105 Nikolaus Harnoncourt Wiener Philharmoniker Festspielhaus, Salzburg, 28 8/2005
Classical Bruckner Symphony Harnoncourt Wiener Philharmoniker Vienna Philharmonic Orchestra クラシック ブルックナー 交響曲 アーノンクール ウィーン・フィルハーモニー管弦楽団 magischmeisjeorkest
Ludwig van Beethoven (1770-1827) "Coriolan" Ouvertüre op.62 Nikolaus Harnoncourt Royal Concertgebouw Orchestra Concertgebouw, Amsterdam, 28 11/2004
Classical Beethoven Coriolan Ouvertüre Harnoncourt Royal Concertgebouw Orchestra Koninklijk Concertgebouworkest Amsterdam クラシック ベートーヴェン コリオラン 序曲 アーノンクール ロイヤル・コンセルトヘボウ管弦楽団 アムステルダム magischmeisjeorkest
Franz Schubert (1797-1828) Symphony No.7 in B minor, D.759 "Unfinished" Nikolaus Harnoncourt Wiener Philharmoniker Festspielhaus, Salzburg, 27 1/2010
Classical Schubert Symphony Unfinished Harnoncourt Wiener Philharmoniker Vienna Philharmonic Orchestra クラシック シューベルト 交響曲 未完成 アーノンクール ウィーン・フィルハーモニー管弦楽団 magischmeisjeorkest
Julia Kleiter (Pamina) Matti Salminen (Sarastro) Elena Mosuc (Queen of Night) Christoph Strehl (Tamino) Ruben Drole (Papageno) Eva Liebau (Papagena) Gabriel Bermudez (Speaker) Rudolf Schasching (Monostatos) Sandra Trattnigg (First Lady) Martina Welschenbach (Second Lady) Katharina Peetz (Third Lady) Daniel Krahmer, Eric Price, Frederic Jost (Three Boys) Andreas Winkler (First Man in Armor/First Priest) Tomasz Slawinski (Second Man in Armor) Morgan Moody (Second Priest)
Dear Youtube User If you are the COPYRIGHT OWNER of this performance I kindly ask you to first contact me requesting to delete the video but avoiding to fill a complaint to YouTube administration and I WILL DELETE IT IMMEDIATELY. It is in fact impossible for me to know if some of my videos constitute copyright infringement because all the material I uploaded is the result of TV recording and passion for the music. I uploaded the video just to promote the music I love. I don't want problems with anybody and I never intended to break the copyright law. Thanks for your understanding IlSignorBruschino ------------------------------------------ Aus dem Benediktinerstift Melk, Oesterreich Das Alexanderfest oder die Macht der Tonkunst von Georg Friedrich Händel Text: John Dryden Dorothea Röschmann, sopran Michael Schade, Tenor Gerald Finley, Baß Arnold Schoenberg Chor Concertus Musicus Wien unter der Leitung von Nikolaus Harnoncourt
Handel Haendel Händel Alexander Feast Alexanderfest Dryden Röschmann Finley Schade Arnold Schoenberg Chor Concertus Musicus Wien Hanroncourt ilsignorbruschino
Johann Sebastian Bach Magnificat in re maggiore BWV 243 Christine Schafer (Soprano) Ian Bostridge (Tenor) Bernarda Fink (Mezzo Soprano) Anne Korondi (Soprano) Christopher Maltman (Baritone), Concentus Musicus Wien; Arnold Schoenberg Choir dir. Nikolaus Harnoncourt
Johann Sebastian Bach Magnificat Nikolaus Harnoncourt sacra barocco giannibodoar
Franz Joseph Haydn (1732-1809) Die Schöpfung Hob.XXI-2 Nikolaus Harnoncourt Concentus Musicus Wien Graz, 7/2010
Classical Haydn Die Schöpfung The Creation Harnoncourt Concentus Musicus Wien クラシック ハイドン 天地創造 アーノンクール ウィーン・コンツェントゥス・ムジクス magischmeisjeorkest
Kantate BWV 61 Nun komm, der Heiden Heiland This, one of the best known of all Bach's cantatas, was composed at the end of 1714 and first performed in the Weimar court chapel on Advent Sunday, 2 December 1714. The libretto is by Erdmann Neumeister, pastor in Hamburg and the main architect of the reform cantata incorporating simple recitative and da capo arias characteristic of Italian opera. The text was published three years later in Neumeister's Fünffache Kirchen-Andachten (Leipzig, 1717). The cantata is therefore one of Bach's earliest expositions in the new cantata form, and the first one he is known to have composed to a libretto by Neumeister. Nun komm, der Heiden Heiland, Der Jungfrauen Kind erkannt, Des sich wundert alle Welt, Gott solch Geburt ihm bestellt. Der Heiland ist gekommen, Hat unser armes Fleisch und Blut An sich genommen Und nimmet uns zu Blutsverwandten an. O allerhöchstes Gut, Was hast du nicht an uns getan? Was tust du nicht Noch täglich an den Deinen? Du kömmst und lässt dein Licht Mit vollem Segen scheinen. www.bach-cantatas.com
Joseph Haydn completed his Symphony No. 92 in G major, Hoboken 1/92, popularly known as the Oxford Symphony, in 1789 as one of a set of three symphonies that Haydn had been commissioned by the French Count d'Ogny to compose. The symphony is called the "Oxford" because Haydn reportedly conducted it at a ceremony in 1791 in which he was awarded an honorary doctorate by Oxford University. 1. Adagio - Allegro spiritoso 2. Adagio cantabile 3. Menuetto: Allegretto 4. Presto First movement Haydn distinguishes each section of the sonata form in this movement by use of strong contrasts of stability and instability. Before revealing the first theme of the symphony, Haydn opens this movement with a slow introduction that begins in the tonic G major and modulates through to the parallel minor and then to the dominant. He begins the first theme in the tonic but on a dominant seventh chord. This is very unusual of symphonies of the time but it reflects an aspect of Haydn's unique compositional characteristics. Because the rest of the Oxford will reflect many of the ideas presented in this first theme, this symphony has been termed monothematic. Following the first theme is the transition, which allows Haydn to modulate to the dominant. The second theme begins with the opening idea of the movement, but in the dominant key. As this theme progresses it enters a section of minor-mode before entering into the closing theme. Haydn stays in the dominant key through the closing of the first <b>...</b>
Haydn Symphony No 92 G major 'Oxford' Harnoncourt Mvt1 Arionia Tellus
Original title: In Festo Trium Regium, Muttetum Natale à 6 also "Dreikonigskantate" in German In Heirich Biber's era, The twelve days of Christmas ended with the Feast of Epiphany also called "The Feast of the Three Kings." Celebrated on January 6, itis the day celebrating "Caspar, Melchior and Balthasar", three Wise Men, who saw a bright star, followed it to Bethlehem and found there the Christ-child and presented Him with gold, frankincense and myrrh. (Though this is biblically incorrect, in that the Three Kings actually took two years to arrive, making many manger scenes incorrect!!!-lol!) January 6, the last day of Christmas, comes with its own traditions, rituals and symbols. This Cantata was composed for that particular "Feast Day" of the Roman Catholic Church of which Heinrich Biber served. It is believed that this Cantata was composed while Biber was still in employment in Bohemia before eventually settling in Salzburg. Nikolaus Harnoncourt with the Concentus Wien and the Vienna Boys Choir. "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."
Johann Sebastian Bach Cantata: "Schweigt stille, plaudert nicht" ("Kaffeekantate"), BWV 211 1. Recitativo (Tenor): "Schweigt stille, plaudert nicht" 2. Aria (Bass): "Hat man nicht mit seinen Kindern" 3. Recitativo (Sopran, Bass): "Du böses Kind, du löses Mädchen" 4. Aria (Sopran): "Ei! Wie schmeckt die Coffee süße" Janet Perry, Sopran (Liesgen) Robert Holl, Bass (Schlendrian) Peter Schreier, Tenor Concentus Musicus Wien Nikolaus Harnoncourt
Concentus Musicus Wien directed by Nikolaus Harnoncourt Though composed in 1701, the Serenade in C (Serenada, Serenata) was not discovered and published until Vienna 1916: Österreichischer Bundesverlag, Plate Dm.d.Tk.in Oest.XXIII.2 (47.) "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."
Johann Fux Concentus Musicus Wien Nikolaus Harnoncourt German Baroque theorist redbrian 3655
Joseph Haydn completed his Symphony No. 92 in G major, Hoboken 1/92, popularly known as the Oxford Symphony, in 1789 as one of a set of three symphonies that Haydn had been commissioned by the French Count d'Ogny to compose. The symphony is called the "Oxford" because Haydn reportedly conducted it at a ceremony in 1791 in which he was awarded an honorary doctorate by Oxford University. 1. Adagio - Allegro spiritoso 2. Adagio cantabile 3. Menuetto: Allegretto 4. Presto First movement Haydn distinguishes each section of the sonata form in this movement by use of strong contrasts of stability and instability. Before revealing the first theme of the symphony, Haydn opens this movement with a slow introduction that begins in the tonic G major and modulates through to the parallel minor and then to the dominant. He begins the first theme in the tonic but on a dominant seventh chord. This is very unusual of symphonies of the time but it reflects an aspect of Haydn's unique compositional characteristics. Because the rest of the Oxford will reflect many of the ideas presented in this first theme, this symphony has been termed monothematic. Following the first theme is the transition, which allows Haydn to modulate to the dominant. The second theme begins with the opening idea of the movement, but in the dominant key. As this theme progresses it enters a section of minor-mode before entering into the closing theme. Haydn stays in the dominant key through the closing of the first <b>...</b>
Haydn Symphony No 92 G major 'Oxford' Harnoncourt Mvt4 Arionia Tellus
Georg Friedrich Händel Alexander's Feast in Benedictine monastery in Melk, Austria Dorothea Röschmann, Michael Shade, Gerlad Finley Concentus Musicus Wien Nikolaus Harnoncourt
Haendel Alexander's Feast 01 Ouverture N Harnoncourt Arionia Tellus
Bedřch Smetana (1824-1884) Má Vlast 0:50 Vyšehrad 18:23 Vltava (The Moldau) 33:54 Šárka 45:28 Z českých luhů a hájů (From Bohemia's woods and fields) 59:43 Tábor 73:48 Blaník Nikolaus Harnoncourt Royal Concertgebouw Orchestra Concertgebouw, Amsterdam, 28 4/2010
Classical Smetana Má Vlast Harnoncourt Royal Concertgebouw Orchestra クラシック スメタナ わが祖国 モルダウ アーノンクール ロイヤル・コンセルトヘボウ管弦楽団 アムステルダム magischmeisjeorkest
Henry Purcell (1659-1695) Dido and Aeneas Dido: Bernarda Fink Belinda: Sophie Karthäuser Aneas: Gerald Finley Zweite Frau: Elisabeth von Magnus Zauberin: Wolfgang Holzmair Erste Hexe: Elisabeth von Magnus Zweite Hexe: Johanna Aschenbrenner Seeman: James Taylor Geist: Peter Kövari Aneas: Gerald Finley Arnold Schönberg Chor Nikolaus Harnoncourt Concentus Musicus Wien Musikverein, Vienna, 9 1/2010
Classical Baroque Purcell Dido and Aeneas Harnoncourt Concentus Musicus Wien クラシック バロック パーセル ディドーとエネアス アーノンクール ウィーン・コンツェントゥス・ムジクス magischmeisjeorkest
From the LP collection you see in the video above, issued on the Telefunken label in 1965. All images in the video were taken from the LP and the notes that are included with the discs. Featuring Alice Harnoncourt, Nickolaus Harnoncourt, Walter Holy (Clarine), Leopold Stastny, Jurg Schaeftlein...
Bach Concentus Musicus Wien davidhertzberg Brandenburg Concerto No. 3 BWV 1048 Auf Originalinstrumenten Alice Harnoncourt Николаус Арнонкур Nickolaus Harnoncourt Walter Holy Grand Prix du Disque Johann Sebastian Bach Brandenborgarkonsert הקונצ'רטי הברנדנבורגיים Бранденбургские концерты Conciertos de Brandeburgo jhnnsbstnbch Brandenburgische Konzert ניקולאוס הארנונקור
Joseph Haydn completed his Symphony No. 92 in G major, Hoboken 1/92, popularly known as the Oxford Symphony, in 1789 as one of a set of three symphonies that Haydn had been commissioned by the French Count d'Ogny to compose. The symphony is called the "Oxford" because Haydn reportedly conducted it at a ceremony in 1791 in which he was awarded an honorary doctorate by Oxford University. 1. Adagio - Allegro spiritoso 2. Adagio cantabile 3. Menuetto: Allegretto 4. Presto First movement Haydn distinguishes each section of the sonata form in this movement by use of strong contrasts of stability and instability. Before revealing the first theme of the symphony, Haydn opens this movement with a slow introduction that begins in the tonic G major and modulates through to the parallel minor and then to the dominant. He begins the first theme in the tonic but on a dominant seventh chord. This is very unusual of symphonies of the time but it reflects an aspect of Haydn's unique compositional characteristics. Because the rest of the Oxford will reflect many of the ideas presented in this first theme, this symphony has been termed monothematic. Following the first theme is the transition, which allows Haydn to modulate to the dominant. The second theme begins with the opening idea of the movement, but in the dominant key. As this theme progresses it enters a section of minor-mode before entering into the closing theme. Haydn stays in the dominant key through the closing of the first <b>...</b>
Haydn Symphony No 92 G major 'Oxford' Harnoncourt Mvt2 Arionia Tellus
From the LP shown above, issued in 1971 on the MHS label. Alice Harnoncourt and Walter Pfeiffer, baroque violins; Nikolaus Harnoncourt, viola da gamba; Herbert Tachezi; harpsochord. Partia I from the Harmonia Artificiosa-Ariosa. Partita III: youtu.be Heinrich Ignaz Franz Biber von Bibern (getauft 12. August 1644 in Wartenberg, Böhmen; † 3. Mai 1704 in Salzburg) war ein böhmischer Komponist und bekannter Geiger der Barockzeit. In einem Jesuiten-Gymnasium im schlesischen Troppau erhielt er seine musikalische Ausbildung. Hier hatte er Kontakt mit dem Trompeter und späteren Kapellmeister des Erzbischofs in Kremsier Pavel Josef Vejvanovský. Vermutlich nahm er weiteren Unterricht bei Johann Heinrich Schmelzer oder dem Hofkapellmeister Antonio Bertali in Wien, dies gilt jedoch als nicht gesichert. Seine erste bekannte Komposition stammt von 1663, ein „Salve Regina" für Sopran, Violine, Gambe und Orgel. Die erste Anstellung erhielt er 1668 als Musiker der Hofkapelle und Kammerdiener des Olmützer Bischofs Karl II. von Liechtenstein-Kastelkorn. Von einer Reise nach Innsbruck kehrte er unerlaubterweise nicht zurück. Auf dieser Reise kam er mit dem zu seiner Zeit berühmten Geigenbauer Jakobus Stainer in Kontakt, der ihn später in einem Schreiben als „der vortreffliche Virtuos Herr Biber" erwähnte. Генрих Игнац Франц фон Бибер (нем. Heinrich Ignaz Franz von Biber, 12 августа 1644, Вартенберг, ныне Чехия — 3 мая 1704, Зальцбург) — австрийский композитор и скрипач родом из Богемии <b>...</b>
Von Biber Alice Harnoncourt davidhertzberg Nikolaus Harnoncourt Walter Pfeiffer Harmonia Artificiosa-Ariosa Partita I Heinrich Ignaz Franz Herbert Tachezi Генрих Игнац Франц фон Бибер היינריך איגנץ ביבר Χάινριχ Ίγκνατς Μπίμπερ
Nikolaus Harnoncourt and the Vienna Philharmonic; Giuseppe Verdi: Aida (Teldec); Soloists: László Polgár, Olga Borodina, Cristina Gallardo-Domâs, Vincenzo La Scola, Matti Salminen, Thomas Hampson; Chorus: Arnold Schoenberg Chor; Download: phobos.apple.com Buy CD: www.amazon.co.uk Find more at www.warnerclassicsandjazz.com
classical music Giuseppe Verdi Aida Verdi Nikolaus Harnoncourt Harnoncourt Vienna Philharmonic Wiener Philharmoniker Teldec László Polgár Olga Borodina Cristina Gallardo-Domâs Vincenzo La Scola Matti Salminen Thomas Hampson Arnold Schoenberg Chorus Warner Classics Jazz
Giuseppe Verdi (1813-1901) Messa da Requiem: Lacrymosa. Bernarda Fink-Mezzosoprano. Ildebrando d'Arcangelo-Bass. Wiener Philharmoniker-Nikolaus Harnoncourt.
