Uploaded October 2020 | Updated September 2026, 2 weeks ago
Giuseppe VERDI: Una vela; Esultate (from Otello) - Mario DEL MONACO
Opera title:
Otello
Composer:
Giuseppe Verdi
Language:
Italian
CIPRIOTI
Una vela! Una vela! Un vessillo! Un vessillo!
Lampi e tuoni
MONTANO
È l'alato Leon!
CASSIO
Entro le scene lontano
Or la folgor lo svela.
ALTRI CHE SOPRAGGIUNGONO
Uno squillo!
Colpo di cannone
TUTTI
Ha tuonato il cannon!
CASSIO
È la nave del Duce.
MONTANO
Or s'affonda or s'inciela. . .
CASSIO
Erge il rostro dall'onda.
ALCUNI CIPRIOTTI
continui lampi
Nelle nubi si cela e nel mar,
e alla luce dei lampi ne appar.
OTELLO:
Esultate! L'orgoglio musulmano
sepolto è in mar; nostra e del ciel è gloria!
Dopo l'armi lo vinse l'uragano.
CIPRIOTI
Evviva Otello! Evviva! evviva! evviva!
Vittoria! Vittoria! Vittoria!
Stermino, dispersi, distrutti, sepolti nell'orrido
Tumulto piombâr
Avranno per requie la sferza dei flutti,
la ridda dei turbini,
l'abisso del mar.
Si calma la bufera.
TUTTI
Lampi, un Tuono
Lampi! tuoni! gorghi! turbi tempestosi e fulmini!
un fulmine
Treman l'onde! treman l'aure! treman basi e culmini.
entrano dal fondo molte donne del popolo
Fende l'etra un torvo e cieco spirto di vertigine.
Iddio scuote il cielo bieco, come un tetro vel.
Tutto è fumo! tutto è fuoco! l'orrida caligine
si fa incendio, poi si spegne più funesta.
Spasima l'universo, accorre a valchi l'aquilon fantasima,
i titanici oricalchi squillano nel ciel.
con gesti dipavento e di supplicazione e rivolti verso lo spaldo
Fulmini, lampi, e tuoni continui
Dio, fulgor della bufera!
Dio, sorriso della duna!
Salva l'arca e la bandiera
della veneta fortuna!
Tu, che reggi gli astri e il Fato!
Tu, che imperi al mondo e al ciel!
Fa che in fondo al mar placato
posi l'àncora fedel.
JAGO
un lampo
È infranto l'artimon!
RODERIGO
altro lampo
Il rostro piomba su quello scoglio!
CORO
Aita! Aita!
JAGO
a Roderigo
ancora un lampo
(L'alvo frenetico del mar sia la sua tomba!)
CIPRIOTI
È salvo! è salvo!
VOCI INTERNE
Gittate i palischermi!
Tuono lontano. Un lampo
Mano alle funi! Fermi!
CIPRIOTI
Tuono lontano
Forza ai remi! Alla riva!
scendono la scala dello spaldo
VOCI INTERNE
All'approdo! allo sbarco!
CIPRIOTI
Evviva! Evviva! Evviva!
Giuseppe VERDI: Una vela; Esultate (from Otello) - Mario DEL MONACO
Opera title:
Otello
Composer:
Giuseppe Verdi
Language:
Italian
CIPRIOTI
Una vela! Una vela! Un vessillo! Un vessillo!
Lampi e tuoni
MONTANO
È l'alato Leon!
CASSIO
Entro le scene lontano
Or la folgor lo svela.
ALTRI CHE SOPRAGGIUNGONO
Uno squillo!
Colpo di cannone
TUTTI
Ha tuonato il cannon!
CASSIO
È la nave del Duce.
MONTANO
Or s'affonda or s'inciela. . .
CASSIO
Erge il rostro dall'onda.
ALCUNI CIPRIOTTI
continui lampi
Nelle nubi si cela e nel mar,
e alla luce dei lampi ne appar.
OTELLO:
Esultate! L'orgoglio musulmano
sepolto è in mar; nostra e del ciel è gloria!
Dopo l'armi lo vinse l'uragano.
CIPRIOTI
Evviva Otello! Evviva! evviva! evviva!
Vittoria! Vittoria! Vittoria!
Stermino, dispersi, distrutti, sepolti nell'orrido
Tumulto piombâr
Avranno per requie la sferza dei flutti,
la ridda dei turbini,
l'abisso del mar.
Si calma la bufera.
TUTTI
Lampi, un Tuono
Lampi! tuoni! gorghi! turbi tempestosi e fulmini!
un fulmine
Treman l'onde! treman l'aure! treman basi e culmini.
entrano dal fondo molte donne del popolo
Fende l'etra un torvo e cieco spirto di vertigine.
Iddio scuote il cielo bieco, come un tetro vel.
Tutto è fumo! tutto è fuoco! l'orrida caligine
si fa incendio, poi si spegne più funesta.
Spasima l'universo, accorre a valchi l'aquilon fantasima,
i titanici oricalchi squillano nel ciel.
con gesti dipavento e di supplicazione e rivolti verso lo spaldo
Fulmini, lampi, e tuoni continui
Dio, fulgor della bufera!
Dio, sorriso della duna!
Salva l'arca e la bandiera
della veneta fortuna!
Tu, che reggi gli astri e il Fato!
Tu, che imperi al mondo e al ciel!
Fa che in fondo al mar placato
posi l'àncora fedel.
JAGO
un lampo
È infranto l'artimon!
RODERIGO
altro lampo
Il rostro piomba su quello scoglio!
CORO
Aita! Aita!
JAGO
a Roderigo
ancora un lampo
(L'alvo frenetico del mar sia la sua tomba!)
CIPRIOTI
È salvo! è salvo!
VOCI INTERNE
Gittate i palischermi!
Tuono lontano. Un lampo
Mano alle funi! Fermi!
CIPRIOTI
Tuono lontano
Forza ai remi! Alla riva!
scendono la scala dello spaldo
VOCI INTERNE
All'approdo! allo sbarco!
CIPRIOTI
Evviva! Evviva! Evviva!


![L.V.BEETHOVEN: PIANO CONCERTO NO.4 - MARIA TIPO (live)
L.V.BEETHOVEN: PIANO CONCERTO NO.4 - MARIA TIPO (live)
Photos: Google ; Sandro da Rimini SAN MARINO AND SAN LEO
From Wikipedia, the free encyclopedia
Ludwig van Beethovens Piano Concerto No. 4 in G major, Op. 58, was composed in 1805–1806. Beethoven was the soloist in the public premiere as part of the concert on 22 December 1808 at Viennas Theater an der Wien.
Premiere and reception
It was premiered in March 1807 at a private concert of the home of Prince Franz Joseph von Lobkowitz. The Coriolan Overture and the Fourth Symphony were premiered in that same concert.[1] However, the public premiere was not until a concert on 22 December 1808 at Viennas Theater an der Wien. Beethoven again took the stage as soloist. The marathon concert saw Beethovens last appearance as a soloist with orchestra, as well as the premieres of the Choral Fantasy and the Fifth and Sixth symphonies. Beethoven dedicated the concerto to his friend, student, and patron, the Archduke Rudolph.
A review in the May 1809 edition of the Allgemeine musikalische Zeitung states that [this concerto] is the most admirable, singular, artistic and complex Beethoven concerto ever.[2] However, after its first performance, the piece was neglected until 1836, when it was revived by Felix Mendelssohn. Today, the work is widely performed and recorded, and is considered to be one of the central works of the piano concerto literature.
I. Allegro moderato
The first movement opens with the solo piano,[a] playing simple chords in the tonic key before coming to rest on a dominant chord. The orchestra then enters with the same theme, in B major, the major mediant key, which is in a chromatic mediant relationship to the tonic. Thus enters the first theme.
The orchestra states the main theme in B major, dropping through the circle of fifths to a cadence in the tonic, G major. The theme is then stated again, this time in stretto between upper and lower voices. A very strong cadence in the tonic, withering away within one bar, introduces a transitional, modulatory theme with restless triplet accompaniment, also containing hints of stretto. The music moves to the minor mediant key, B minor, while its dynamic is reduced to pianissimo, at which point material from the opening theme returns. Through a rising bass line and sequential harmonies, the music regains the tonic key (on a dominant pedal) with a new theme derived from bars 3, 4, and 5. The final cadence is delayed for several bars before the material from the opening bar resurfaces as the movements closing theme, accompanied by a tonic pedal over forte dominant chords.
Felix Salzer says the following about this opening, [It is] one of the most fascinating substitutions of the entire literature...The whole passage appears as a most imaginative prolongation of interruption, the post-interruption phrase starting with a B-Major chord boldly substituting for the tonic. In addition, this post-interruption phrase introduces a very interesting melodic parallelism in form of an augmentation of the end of the pre-interruption phrase one step higher.[5]
The pianos entrance resembles an Eingang, an improvisatory passage from Mozarts day that would have occurred after the orchestras last unresolved dominant chord, but before the piano played the main theme. Beethoven captures this improvisatory style by accelerating the rhythm in the piano part, from eighth notes, to triplets, to sixteenth notes, and finally in a scale that rushes downward in sixteenth-note sextuplets. A long preparation is then made before a tonic cadence duly arrives, and the orchestra once again takes up the main theme.
II. Andante con moto
The second movement has been associated with the imagery of Orpheus taming the Furies (represented, respectively, by the piano and unison strings) at the gates to Hades, a suggestion of Beethovens 1859 biographer Adolf Bernhard Marx.[6] The movements quiet E minor ending leads without pause into the C major chords that open the finale.
III. Rondo (Vivace)
In contrast to the preceding movements, the third movement, in traditional rondo form, is simpler, characterized by a very rhythmic theme. The main theme begins in the subdominant key of C major before correcting itself to reach a cadence in the tonic G major. L.V.BEETHOVEN: PIANO CONCERTO NO.4 - MARIA TIPO (live)](https://i.ytimg.com/vi/Z3oBVaf-_lw/mqdefault.jpg)



![E.GRIEG: Piano concerto - A.B. MICHELANGELI; DeBURGOS (LIVE)
E.GRIEG: Piano concerto - A.B. MICHELANGELI; DeBURGOS (LIVE)
Photos: Dolomites
From Wikipedia, the free encyclopedia
The Piano Concerto in A minor, Op. 16, composed by Edvard Grieg in 1868, was the only concerto Grieg completed. It is one of his most popular works[1] and is among the most popular of all piano concerti.
Structure
The concerto is in three movements:
Allegro molto moderato (A minor)
Adagio (D♭ major)
Allegro moderato molto e marcato – Quasi presto – Andante maestoso (A minor → F major → A minor → A major)
Instrumentation
Grieg scored the concerto for solo piano, 2 flutes, 2 oboes, 2 clarinets (in A and B♭), 2 bassoons, 2 horns in E and E♭, 2 trumpets in C and B♭, 2 trombones, tuba, timpani and strings (violins, violas, cellos and double basses). He later added 2 horns and changed the tuba to a third trombone.
History and influences
The work is among Griegs earliest important works, written by the 24-year-old composer in 1868 in Søllerød, Denmark, during one of his visits there to benefit from the climate.
The concerto is often compared to the Piano Concerto of Robert Schumann: it is in the same key; the opening descending flourish on the piano is similar; the overall style is considered to be closer to Schumann than any other single composer. Incidentally, both composers wrote only one concerto for piano. Grieg had heard Schumanns concerto played by Clara Schumann in Leipzig in 1858, and was greatly influenced by Schumanns style generally, having been taught the piano by Schumanns friend Ernst Ferdinand Wenzel.
Griegs concerto provides evidence of his interest in Norwegian folk music; the opening flourish is based on the motif of a falling minor second followed by a falling major third, which is typical of the folk music of Griegs native country. This specific motif occurs in other works by Grieg, including the String Quartet No. 1. In the last movement of the concerto, similarities to the halling[5] (a Norwegian folk dance) and imitations of the Hardanger fiddle (the Norwegian folk fiddle) have been detected.
The work was premiered by Edmund Neupert on April 3, 1869, in Copenhagen, with Holger Simon Paulli conducting. Some sources say that Grieg himself, an excellent pianist, was the intended soloist, but he was unable to attend the premiere owing to commitments with an orchestra in Christiania (now Oslo). Among those who did attend the premiere were the Danish composer Niels Gade and the Russian pianist Anton Rubinstein, who provided his piano for the occasion.[6] Neupert was also the dedicatee of the second edition of the concerto (Rikard Nordraak was the original dedicatee), and James Huneker said that he composed the first movement cadenza.[7]
The Norwegian premiere in Christiania followed on August 7, 1869, and the piece was later heard in Germany in 1872 and England in 1874. At Griegs visit to Franz Liszt in Rome in 1870, Liszt played the notes a prima vista (by sight) before an audience of musicians and gave very good comments on Griegs work which would later influence him. The work was first published in Leipzig in 1872, but only after Johan Svendsen intervened on Griegs behalf.[8]
The concerto is the first piano concerto ever recorded—by pianist Wilhelm Backhaus in 1909.[9] Due to the technology of the time, it was heavily abridged and ran only six minutes.[9]
Grieg revised the work at least seven times, usually in subtle ways, but the revisions amounted to over 300 differences from the original orchestration. In one of these revisions, he undid Liszts suggestion to give the second theme of the first movement (as well as the first theme of the second) to the trumpet rather than to the cello. The final version of the concerto was completed only a few weeks before Griegs death, and it is this version that has achieved worldwide popularity. The original 1868 version has been recorded, by Love Derwinger, with the Norrköping Symphony Orchestra under Junichi Hirokami.[10]
Grieg worked on a transcription of the concerto for two solo pianos, which was completed by Károly Thern.[11] The premiere recording of this version was by the British piano duo Anthony Goldstone and Caroline Clemmow.[12] On April 2, 1951, the Russian-born American pianist Simon Barere collapsed while playing the first few bars of the concerto, in a performance with conductor Eugene Ormandy and the Philadelphia Orchestra at Carnegie Hall in New York. He died backstage shortly afterwards.[13] It was to have been Bareres first performance of the work.[ E.GRIEG: Piano concerto - A.B. MICHELANGELI; DeBURGOS (LIVE)](https://i.ytimg.com/vi/_i342LhapQw/mqdefault.jpg)



