Adagietto | Johann Sebastian Bach "Air on the G String", BWV 1068 | Alessio Bax @Adagietto | Uploaded May 2012 | Updated October 2024, 1 hour ago.
Alessio Bax - "Air on the G String" from the Third Orchestral Suite BWV1068 Piano,
Johann Sebastian Bach, A. Siloti Transcription
Playlist: youtube.com/watch?v=odHWI5b-ZUo&list=PLF2ayhcb2yRWJFPOdujst03cIjQXiiDu3&index=1
"Pianist Alessio Bax is praised for creating "a ravishing listening experience" with his lyrical playing, insightful interpretations and dazzling facility. "His playing quivers with an almost hypnotic intensity," says Gramophone magazine, leading to "an out-of-body experience" ( Dallas Morning News)."
alessiobax.com
Johann Sebastian Bach probably wrote his Suite for Orchestra No 3 in D major, BWV 1068 in 1731. This was not the sort of music he normally wrote; it is lighter fare than his normally more rigorous, sacred or fugal fare. Suites for orchestra were also called overtures, and they were an all-purpose form of entertainment, featuring some pretensions of French culture, which was the most sought-after affectation among the royals of Europe in the eighteenth century.
Its second movement, Air, (also known as "Air on the G String") centers around one of the most well known melodies he ever wrote. Bach approaches the music with his personal instincts intact, and leans as much toward Italy as much as France in this material. The visceral, propulsive nature of Vivaldi's concertos find their way into all these orchestral suites.
The Air is one of the most famous pieces of baroque music.
Album Available: signumrecords.com/catalogue/alessio-bax/alessio-bax:-bach-transcribed/sigcd156.html
Suite No. 3 in D major, BWV 1068, 2. Air
Suite Nr. 3 D-Dur BWV 1068, Air
Ouverture n° 3, BWV 1068, Air
Suite Para Orquestra N.º 3, BWV 1068, Air
Suite per a orquestra núm. 3 en re major, BWV 1068, Air
Orkesterisarja nro. 3, D-duuri, BWV 1068, Air
Orkestersuiter nro. 3 BWV 1068, Air
Orkestrosuitoj D-maĵora BWV 1068, Air
Transcription Piano
Alessio Bax - "Air on the G String" from the Third Orchestral Suite BWV1068 Piano,
Johann Sebastian Bach, A. Siloti Transcription
Playlist: youtube.com/watch?v=odHWI5b-ZUo&list=PLF2ayhcb2yRWJFPOdujst03cIjQXiiDu3&index=1
"Pianist Alessio Bax is praised for creating "a ravishing listening experience" with his lyrical playing, insightful interpretations and dazzling facility. "His playing quivers with an almost hypnotic intensity," says Gramophone magazine, leading to "an out-of-body experience" ( Dallas Morning News)."
alessiobax.com
Johann Sebastian Bach probably wrote his Suite for Orchestra No 3 in D major, BWV 1068 in 1731. This was not the sort of music he normally wrote; it is lighter fare than his normally more rigorous, sacred or fugal fare. Suites for orchestra were also called overtures, and they were an all-purpose form of entertainment, featuring some pretensions of French culture, which was the most sought-after affectation among the royals of Europe in the eighteenth century.
Its second movement, Air, (also known as "Air on the G String") centers around one of the most well known melodies he ever wrote. Bach approaches the music with his personal instincts intact, and leans as much toward Italy as much as France in this material. The visceral, propulsive nature of Vivaldi's concertos find their way into all these orchestral suites.
The Air is one of the most famous pieces of baroque music.
Album Available: signumrecords.com/catalogue/alessio-bax/alessio-bax:-bach-transcribed/sigcd156.html
Suite No. 3 in D major, BWV 1068, 2. Air
Suite Nr. 3 D-Dur BWV 1068, Air
Ouverture n° 3, BWV 1068, Air
Suite Para Orquestra N.º 3, BWV 1068, Air
Suite per a orquestra núm. 3 en re major, BWV 1068, Air
Orkesterisarja nro. 3, D-duuri, BWV 1068, Air
Orkestersuiter nro. 3 BWV 1068, Air
Orkestrosuitoj D-maĵora BWV 1068, Air
Transcription Piano
![Richard Wagner - Tannhäuser, O du, mein holder Abendstern | Moon Music Box Aria Melody [HD]](https://i.ytimg.com/vi/pcRt5bA-mhk/hqdefault.jpg "Richard Wagner - Tannhäuser, O du, mein holder Abendstern | Moon Music Box Aria Melody [HD]
https://www.youtube.com/watch?v=pcRt5bA-mhk&list=PLF2ayhcb2yRUee6NQoXAk21HyX8EcCtEd&index=1
Richard Wagner - Tannhäuser und der Sängerkrieg auf Wartburg | O du, mein holder Abendstern (O thou, my gracious Evening Star | Romance à LÉtoile du Soir) Wolframs aria from Tannhäuser. Music Box plays Abendstern-lied with contemplative images of the different phases of the Moon projectet onto the ceiling by a Magic Lantern.
Wolfram sings an ode to the Evening Star, Venus. One of the most beautiful baritone arias ever written. It may not be as flashy as the Queen of the Night aria or even Nessun Dorma, but Wagners aria for Wolfram from the opera, Tannhäuser, is like an old faithful companion that never leaves your side.
Bryn Terfel, Berliner Philharmoniker, Claudio Abbado http://youtu.be/PLpLBssY9ko?t=2m19s
O du, mein holder Abendstern, Wolframs aria from Tannhäuser
Wie Todesahnung Dämm rung deckt die Lande,
umhüllt das Tal mit schwärzlichem Gewande;
der Seele, die nach jenen Höhn verlangt,
vor ihrem Flug durch Nacht und Grausen bangt.
Da scheinest du, o lieblichster der Sterne,
dein Sanftes Licht entsendest du der Ferne;
die nächtge Dämm rung teilt dein lieber Strahl,
und freundlich zeigst du den Weg aus dem Tal.
O du, mein holder Abendstern,
wohl grüsst ich immer dich so gern:
vom Herzen, das sie nie verriet,
grüsse sie, wenn sie vorbei dir zieht,
wenn sie entschwebt dem Tal der Erden,
ein selger Engel dort zu werden!
O thou, my gracious Evening Star
Like a portent of death, twilight shrouds the earth
and envelops the valley in its sable robe;
the soul, that yearns for those heights,
dreads to take its dark and awful flight.
There you shine, o fairest of the stars,
and shed your gentle light from afar;
your friendly beam penetrates the twilight gloom
and points the way out from the valley.
Oh thou, my gracious Evening Star,
I always gladly greeted thee:
from a heart that never betrayed its faith,
greet her when she passes,
when she soars above this earthly valley
to become a blessed angel in Heaven!
Music Box plays Abendstenlied (Hymn to the Night Star) from Tannhäuser with contemplative images of the different phases of the Moon projectet onto the ceiling by a Magic Lantern.
King Ludwig II of Bavaria. Ludwig, ou le Crépuscle des Dieux, Luchino Visconti. Instrumental Sountrack.
Mira Spieluhr spielt Abendstern-Lied aus Tannhäuser | Spieluhr | Spieldose | Music Box | Musik Box | Boîte à musique | Carillon | Caixa de música | Caja de música | Speeldoos (muziekinstrument) | Spilledåse | Mängutoos | Muzikskatolo | Kotak musik | Pozytywka | Carillone | Soittorasia | Speldosa | Hộp nhạc | صندوق_موسيقي | جعبه_موسیقی | תיבת_נגינה | オルゴール | نکا_پیانو | กล่องดนตรี | 八音盒")
![Debussy - Clair de Lune [HD]](https://i.ytimg.com/vi/qzGNP02tNgo/hqdefault.jpg "Debussy - Clair de Lune [HD]
Claude-A. Debussy - Clair de Lune (Mondglanz, Mondschein, Moonlight), Suite Bergamasque. The Suite bergamasque was first composed by Debussy, 1890-1905. Claudio Arrau, Piano.
Solar Eclipse by Moon 20.III.2015
Claude Debussys famous Clair de lune is the third piece of the Suite bergamasque for piano, a work whose title was chosen as much for its composers love of the word-sounds as for its Renaissance implications (though the work can rightly be described as something of a tribute to the French harpsichordists of olden days).
The D flat major of Clair de lune is perfectly chosen, the gleaming melody in parallel thirds (con sordina, Debussy requests) expertly balanced by the beautifully dissonant tempo rubato that follows it. During the un poco mosso middle section of Clair de lune, the music swells far past the pianissimo of the opening, and in its climax one might say that the young composer has crafted more of sunlight than of moonlight; the incessant arpeggios may well be overdone, but one can cherish them all the same. Little wisps of these arpeggios find their way over into the reprise of the opening music, and the rolling tones of the middle section are given a few measures to plead their case once more before the final chromatic cadence, a moment of absolute tranquility, is made.
Clair de Lune is a French poem written by Paul Verlaine in the year 1869. It is the inspiration for the third and most famous movement of Debussys 1890 Suite bergamasque of the same name. Clair de lune (Moonlight) is from Verlaines early collection Fêtes galantes (Gallant Parties, 1869).
Clair de lune
Votre âme est un paysage choisi
Que vont charmant masques et bergamasques
Jouant du luth et dansant et quasi
Tristes sous leurs déguisements fantasques.
Tout en chantant sur le mode mineur
Lamour vainqueur et la vie opportune,
Ils nont pas lair de croire à leur bonheur
Et leur chanson se mêle au clair de lune,
Au calme clair de lune triste et beau,
Qui fait rêver les oiseaux dans les arbres
Et sangloter dextase les jets deau,
Les grands jets deau sveltes parmi les marbres.
Moonlight
Your soul is a select landscape fair
Where charming masqueraders and bergamaskers go
Playing the lute and dancing and almost
Sad beneath their fantastic disguises.
All sing in a minor key
Of victorious love and the opportune life,
They do not seem to believe in their happiness
And their song mingles with the moonlight,
With the still moonlight, sad and beautiful,
Which gives the birds to dream in the trees
And makes the fountain sprays sob in ecstasy,
The tall, slender fountain sprays among the marble statues.
Moonlight
Your soul is as a moonlit landscape fair,
Peopled with maskers delicate and dim,
That play on lutes and dance and have an air
Of being sad in their fantastic trim.
The while they celebrate in minor strain
Triumphant love, effective enterprise,
They have an air of knowing all is vain,—
And through the quiet moonlight their songs rise,
The melancholy moonlight, sweet and lone,
That makes to dream the birds upon the tree,
And in their polished basins of white stone
The fountains tall to sob with ecstasy.
Luar
A tua alma é uma paisagem escolhida
Onde enganam máscaras e bergamascas
Tocam lira e dançam quase
Tristes sob os seus fantásticos disfarces.
Cantando em modo menor
O amor triunfante e a vida auspiciosa,
Não parecem acreditar na sua felicidade
E a sua canção se mistura com o luar,
Com o calmo luar triste e belo,
Que faz sonhar as aves nas árvores
E soluçar de êxtase os jactos de água,
Os grandes jactos de água esbelta entre os mármores.
Paul Verlaine, 1869
Reacting against realism and rhetoric, the Symbolists tried instead to evoke a mood, an essence, an Ideal. Just as the Moon takes its light from the Sun, they sought to illuminate seemingly inaccessible subjects indirectly, by creating reflections. Here we have masks and dancing, fantastic disguises, fountains sobbing in ecstasy, moonlight: a swirl of suggestive images that speaks volumes about the human soul without really saying anything. Rather like music, in fact. Both Ravel and Fauré composed pieces based on Verlaines poetry, and this poem inspired Claude Debussy to write his own Clair de lune, the third movement of his Suite bergamasque and the work for which he is now most famous.")
![Philippe Jaroussky - Lascia chio pianga | Händel - Rinaldo [HD]](https://i.ytimg.com/vi/u-74WzKsFzI/hqdefault.jpg "Philippe Jaroussky - Lascia chio pianga | Händel - Rinaldo [HD]
George Friedrich Händel - Lascia chio pianga mia cruda sorte, from Rinaldo, opera, HWV 7, 1711 | Philippe Jaroussky, 2016.
Lascia chio pianga
mia cruda sorte,
e che sospiri
la libertà.
Il duolo infranga
queste ritorte
de miei martiri
sol per pietà.
Let me weep over
my cruel fate,
and that I may sigh for
freedom
Let my sadness shatter
these chains
of my suffering,
if only out of pity.
Other Performances:
Philippe Jaroussky - Ombra mai fù https://youtu.be/MQm2C5UrERg
Lascia ch’io pianga, originally Lascia la spina, cogli la rosa, is an Italian-language soprano aria by composer George Frideric Handel that has become a popular concert piece. Its melody is first found in Act III of Handel’s 1705 opera Almira as a sarabande; the score for this can be seen on page 81 of Vol. 55 of Chrysander. Handel then used the tune for the aria Lascia la spina, cogli la rosa, or Leave the Thorn, Take the Rose, for the character Piacere in Part II of his 1707 oratorio Il trionfo del Tempo e del Disinganno (which was much later, in 1737, revised as Il trionfo del Tempo e della Verità). Four years after that, in 1711, Handel used the music again, this time for his London opera Rinaldo and its Act II aria Lascia ch’io pianga, or Leave Me to Weep, sung by the character Almirena, a soprano role taken by Isabella Girardeau in the premiere. Rinaldo was a triumph, and it is with this work that the aria is chiefly associated.
After composing two Italian operas for Hamburg, two Italian oratorios for Rome, and a third Italian opera for Venice, George Frideric Handel moved to England in 1710 to compose his first Italian opera for London. Produced in the Queens Theater in the Haymarket on February 24, 1711, Rinaldo would certainly have been an enormous success if the librettist and impresario Aaron Hill had not neglected to pay the tradesmen, thereby causing the Lord Chamberlain to revoke Hills theater license nine days after the premiere. But Rinaldo paved the way for the quick success of Handel and Italian opera in London and the work was revived in 1712, then again in 1717, and again in 1731.
Hills libretto is based on Tassos epic poem on the First Crusade Gerusalamme liberata, but with a new plot and a new female lead to give the story appeal to a then-contemporary London audience. Handels music is in part a pastiche drawn from many of his earlier dramatic works, and in part a newly composed work with deeply expressive arias and recitative adorned with extravagant trumpet and woodwind writing. Together, Hills libretto and Handels music create a powerful and plangent opera with strong and sympathetic leads in Rinaldo and Almirenda and a superbly coherent and convincing score.")
