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Let’s get down to basses 🎶 Follow along with this moment from Beethoven’s Third Symphony, courtesy of LPO double bassists Laura and Tom 🌟 #classicalmusic #orchestra #doublebass #bass #bassist #doublebassist #beethoven

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London Philharmonic Orchestra

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17,765 görüntüleme • 1 yıl önce •via X (Twitter)

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Llorenç González profil fotoğrafı
Llorenç González1 yıl önce

My congratulations to the double bass string of the @LPOrchestra and all the more so because they play with a French bow. #DoubleBass #FrenchBow #BottesiniBow

Christopher Adams profil fotoğrafı
Christopher Adams1 yıl önce

Love how the double bass brings depth to Beethoven's Third Symphony. Been listening to classical radio non-stop lately and this is one of my favorites

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Etienne Planel1 yıl önce

Who was the conductor ?

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This Monday, we celebrate the extraordinary legacy of Gustav Mahler 🎻🎶 Mahler died on this day in 1911 at just 50 years old, but his impact on classical composition and symphonic music continues to inspire generations around the world. Enjoy the powerful finale of his 'Resurrection' Symphony, captured earlier this year in rehearsals with conductor Kent Nagano and the Philharmonia Chorus 🎻✨ #Mahler #SymphonyNo2 #ResurrectionSymphony #ClassicalMusic #Orchestra
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This Monday, we celebrate the extraordinary legacy of Gustav Mahler 🎻🎶 Mahler died on this day in 1911 at just 50 years old, but his impact on classical composition and symphonic music continues to inspire generations around the world. Enjoy the powerful finale of his 'Resurrection' Symphony, captured earlier this year in rehearsals with conductor Kent Nagano and the Philharmonia Chorus 🎻✨ #Mahler #SymphonyNo2 #ResurrectionSymphony #ClassicalMusic #Orchestra

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When I was still a student at the conservatory, my professors used to call me ‘Beethoven Girl’. Not just because I was the best Beethoven player they had, you see I had an unhealthy obsession with trying to get these notes to resonate at Beethoven’s truest intent. I read what he read. I ate what he ate. I engulfed myself in Voltaire and Kant to breathe the same air of Enlightenment he breathed. To experience the frequencies he could not hear but were realer to him than his own reality. I learned from his students directly — Wilhelm Kempff and John O’Conor. When I realized every piece of sheet music was altered by production for copyright purposes, I flew to Europe to get my hands on the First Edition of Beethoven Sonatas from Budapest. I hand painted this specific third movement on the walls of my dorm. I graduated the conservatory with this as my final performance and went on to use it for my audition piece to get accepted as a fine arts major in university. The piece in its entirety is 1 hour long. Here is Beethoven’s Sonata No 17 in D minor, the third movement—Tempest—performed to the enlightenment with which he originally intended. Yours truly, Beethoven Girl
2:49

When I was still a student at the conservatory, my professors used to call me ‘Beethoven Girl’. Not just because I was the best Beethoven player they had, you see I had an unhealthy obsession with trying to get these notes to resonate at Beethoven’s truest intent. I read what he read. I ate what he ate. I engulfed myself in Voltaire and Kant to breathe the same air of Enlightenment he breathed. To experience the frequencies he could not hear but were realer to him than his own reality. I learned from his students directly — Wilhelm Kempff and John O’Conor. When I realized every piece of sheet music was altered by production for copyright purposes, I flew to Europe to get my hands on the First Edition of Beethoven Sonatas from Budapest. I hand painted this specific third movement on the walls of my dorm. I graduated the conservatory with this as my final performance and went on to use it for my audition piece to get accepted as a fine arts major in university. The piece in its entirety is 1 hour long. Here is Beethoven’s Sonata No 17 in D minor, the third movement—Tempest—performed to the enlightenment with which he originally intended. Yours truly, Beethoven Girl

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Thought this was awesome from Tom Izzo today. He was asked his secret to still being so “invigorated” as a coach. “When you get to share a moment with guys that stuck with you and you stuck with them… that’s the joy I get out of coaching.”
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Thought this was awesome from Tom Izzo today. He was asked his secret to still being so “invigorated” as a coach. “When you get to share a moment with guys that stuck with you and you stuck with them… that’s the joy I get out of coaching.”

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66,064 görüntüleme • 6 ay önce

Saturday night music offering. This is Beethoven’s piano trio (piano, violin, cello) op. 1 no. 3. I like this piece because it’s one of the first works Beethoven published, and blows up the idea that he had fixed ‘periods’ of composing. Usually people talk of an early imitative period, a middle ‘heroic period’ with works like Eroica and Symphony 5, and then a ‘late period.’ This work is an ‘early’ work that sounds like it came 10 years later in the heroic period. In other words - Beethoven was experimenting. Haydn actually thought this work was too advanced for the Viennese audience, and recommended against promoting it. But it’s quintessential Beethoven. And it’s in C Minor - the key most closely associated with him. Another interesting point - Beethoven experimented with the trio because he wanted a genre that wasn’t well trod. He waited on string quartets because Haydn and Mozart had perfected them - he wanted some ground that was his own. Tells you about his approach, his desire to learn from others but stake out his own ground.
1:50

Saturday night music offering. This is Beethoven’s piano trio (piano, violin, cello) op. 1 no. 3. I like this piece because it’s one of the first works Beethoven published, and blows up the idea that he had fixed ‘periods’ of composing. Usually people talk of an early imitative period, a middle ‘heroic period’ with works like Eroica and Symphony 5, and then a ‘late period.’ This work is an ‘early’ work that sounds like it came 10 years later in the heroic period. In other words - Beethoven was experimenting. Haydn actually thought this work was too advanced for the Viennese audience, and recommended against promoting it. But it’s quintessential Beethoven. And it’s in C Minor - the key most closely associated with him. Another interesting point - Beethoven experimented with the trio because he wanted a genre that wasn’t well trod. He waited on string quartets because Haydn and Mozart had perfected them - he wanted some ground that was his own. Tells you about his approach, his desire to learn from others but stake out his own ground.

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35,198 görüntüleme • 3 ay önce

I’d like to share with you a story from a listener. 🎶✨ "I happened to come across this by chance. I’d only ever heard it on the violin, so this is my first time hearing it on the cello. It’s a piece I’ve always kept deep in my heart. It takes me back to late autumn, long ago, when I was in graduate school for architecture. I met a female student from Daegu by chance. Using a project as an excuse, I went down to Eunhaesa Temple. The air was thick with the scent of apples along the roadside… and the fresh fragrance of her kiss, sharp and vivid, like grass cleanly cut by a sickle. All of those senses seem to be fully contained in this piece. Thank you. I’ve subscribed. I hope to hear more beautiful performances like this often." 𝐒𝐨𝐧𝐠 𝐟𝐫𝐨𝐦 𝐚 𝐒𝐞𝐜𝐫𝐞𝐭 𝐆𝐚𝐫𝐝𝐞𝐧🌿 Cello : Yoon Kyung Cho(CelloDeck) Millennium Symphony Orchestra Arr. : Yera Kim
3:20

I’d like to share with you a story from a listener. 🎶✨ "I happened to come across this by chance. I’d only ever heard it on the violin, so this is my first time hearing it on the cello. It’s a piece I’ve always kept deep in my heart. It takes me back to late autumn, long ago, when I was in graduate school for architecture. I met a female student from Daegu by chance. Using a project as an excuse, I went down to Eunhaesa Temple. The air was thick with the scent of apples along the roadside… and the fresh fragrance of her kiss, sharp and vivid, like grass cleanly cut by a sickle. All of those senses seem to be fully contained in this piece. Thank you. I’ve subscribed. I hope to hear more beautiful performances like this often." 𝐒𝐨𝐧𝐠 𝐟𝐫𝐨𝐦 𝐚 𝐒𝐞𝐜𝐫𝐞𝐭 𝐆𝐚𝐫𝐝𝐞𝐧🌿 Cello : Yoon Kyung Cho(CelloDeck) Millennium Symphony Orchestra Arr. : Yera Kim

𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀

14,198 görüntüleme • 7 ay önce

Let’s do a late weekend musical offering. This is the opening salvo in Haydn’s Symphony 45 in F Sharp Minor. Couple things to note here. This comes out in 1772, right at the outset of the Sturm und Drang movement in Germany - a violent precursor to Romanticism. Haydn takes a simple motivic idea and manipulates it forcefully. It’s very much in keeping with something like Goethe’s play Götz von Berlichingen or Schiller’s Die Räuber - both plays depicting men of action who cast aside convention and engage in violence. Haydn is giving that same energy here. Second - Haydn was a huge influence on Beethoven. Not just because he was his teacher for a time. But because he was using small motivic ideas to build large movements before Beethoven did it. Beethoven took it further - but if you listen to this clip, you will hear in 1772 the kind of thing Beethoven took further in 1806. I apologize for the mediocre recording quality. I have a Fischer recording that I think is good, and I have a soft spot for the Danes just now because I don’t like the bullying over Greenland of a good ally - so I wanted to put them center here. But if you like this - you can get many good recordings of this symphony with clean sound.
1:34

Let’s do a late weekend musical offering. This is the opening salvo in Haydn’s Symphony 45 in F Sharp Minor. Couple things to note here. This comes out in 1772, right at the outset of the Sturm und Drang movement in Germany - a violent precursor to Romanticism. Haydn takes a simple motivic idea and manipulates it forcefully. It’s very much in keeping with something like Goethe’s play Götz von Berlichingen or Schiller’s Die Räuber - both plays depicting men of action who cast aside convention and engage in violence. Haydn is giving that same energy here. Second - Haydn was a huge influence on Beethoven. Not just because he was his teacher for a time. But because he was using small motivic ideas to build large movements before Beethoven did it. Beethoven took it further - but if you listen to this clip, you will hear in 1772 the kind of thing Beethoven took further in 1806. I apologize for the mediocre recording quality. I have a Fischer recording that I think is good, and I have a soft spot for the Danes just now because I don’t like the bullying over Greenland of a good ally - so I wanted to put them center here. But if you like this - you can get many good recordings of this symphony with clean sound.

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15,644 görüntüleme • 7 ay önce

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NATO/RUSSIA SET FOR APOCALYPTIC KINETIC WAR We Are Now In An Admitted World War With North Korea Fighting Along Side Russia & Ukraine Attacking Iran In An Attempt To Get More Funding and Support From The US and Officially Merge The 2 Major Conflicts As Russia Continues To Win The Strategic War Of Attrition, NATO Continues To Double Down As Russia Has Warned They Are Set To Hit Targets Within Days In Europe 🚨 In This Key Report Alex Jones Breaks Down The Latest Escalation and Tells The World Now Is The Time To Get Rid Of Your Normalcy Bias! LIVE:

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Noah Eagle: Surprise mistake from a veteran quarterback in the biggest moment. Todd Blackledge: I think he knew that he had to get down and get a time-out called...Two plays in this last drive, Will Howard not on top of things with the clock. And it came back to hurt him.
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Noah Eagle: Surprise mistake from a veteran quarterback in the biggest moment. Todd Blackledge: I think he knew that he had to get down and get a time-out called...Two plays in this last drive, Will Howard not on top of things with the clock. And it came back to hurt him.

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This is Beethoven’s Piano Sonata No. 14 in C-sharp minor, Op. 27 No. 2, “Moonlight”, third movement: Presto agitato, performed by Wilhelm Kempff. The third movement (Presto agitato) of the Moonlight Sonata has long stood as a classical emblem. For those who uphold and cherish the enduring values of traditional culture, the detail regarded as the finest and most profound is the manner in which the rigorous sonata-allegro form is driven to the very brink of explosive release, yet remains utterly unbroken. Specifically, it is Beethoven’s handling of the second subject and the coda of this movement that commands such admiration. From the perspective of traditional culture, music is not merely entertainment but a reflection of the cosmic order and the inner life of man. The third movement is a veritable tempest, with arpeggios surging upward like turbulent waves; yet despite its extraordinarily vehement pulse (Presto agitato – fast and impassioned), Beethoven never descends into anarchic freedom. He adheres with strict fidelity to the traditional sonata form: Exposition, Development, Recapitulation, and Coda. Amidst the whirlwind of notes, the second subject emerges with a more lyrical, cantabile character, though still steeped in anxiety. Lovers of the work cherish this moment precisely because it demonstrates that reason and structure – Order – are always present to govern and direct the most intense emotions – Chaos. The esteem in which this detail is held springs from a profound aesthetic and philosophical outlook: The Triumph of Reason and Will (The Triumph of Order): Traditional culture exalts man’s capacity to master desires and adversity through reason, moral strength, and willpower. The third movement mirrors this ideal with striking precision. Beethoven, confronting the personal tragedy of his encroaching deafness and a shattered love, refuses to surrender and allow his music to disintegrate. The architectural rigour of the musical structure serves as the very frame that prevents the soul from collapsing. The Principle of “Harmony through Conflict”: According to the classical conception, the highest art achieves Harmony. Yet the most beautiful harmony is not a placid calm, but that which is attained only after the most violent conflicts have been overcome. Beethoven’s resolution of all the accumulated musical tensions in the coda, bringing the work to a decisive and triumphant close in the tonic key, is likened to man rediscovering peace and his rightful place before the Divine or Fate. The Exemplary Respect for Artistic Discipline: The ancients demanded the highest standards of formal propriety in art. In this movement of Beethoven they find a perfect answer: a great artist may pour forth the full force of his individuality and the most passionate emotions without ever violating the fundamental laws that give birth to Beauty. This, then, is why traditional listeners regard the third movement as a pinnacle of synthesis: it unites the fiery, ardent quality of emotion (characteristic of Southern cultures) with the lucid discipline, restraint, and tightly logical structure of the intellect (characteristic of Northern cultures). In simple terms, listeners cherish this movement not merely because it is thrilling to the ear, but because it proves that even in the greatest storms of life, man can still preserve within himself a noble and exalted order.
7:33

This is Beethoven’s Piano Sonata No. 14 in C-sharp minor, Op. 27 No. 2, “Moonlight”, third movement: Presto agitato, performed by Wilhelm Kempff. The third movement (Presto agitato) of the Moonlight Sonata has long stood as a classical emblem. For those who uphold and cherish the enduring values of traditional culture, the detail regarded as the finest and most profound is the manner in which the rigorous sonata-allegro form is driven to the very brink of explosive release, yet remains utterly unbroken. Specifically, it is Beethoven’s handling of the second subject and the coda of this movement that commands such admiration. From the perspective of traditional culture, music is not merely entertainment but a reflection of the cosmic order and the inner life of man. The third movement is a veritable tempest, with arpeggios surging upward like turbulent waves; yet despite its extraordinarily vehement pulse (Presto agitato – fast and impassioned), Beethoven never descends into anarchic freedom. He adheres with strict fidelity to the traditional sonata form: Exposition, Development, Recapitulation, and Coda. Amidst the whirlwind of notes, the second subject emerges with a more lyrical, cantabile character, though still steeped in anxiety. Lovers of the work cherish this moment precisely because it demonstrates that reason and structure – Order – are always present to govern and direct the most intense emotions – Chaos. The esteem in which this detail is held springs from a profound aesthetic and philosophical outlook: The Triumph of Reason and Will (The Triumph of Order): Traditional culture exalts man’s capacity to master desires and adversity through reason, moral strength, and willpower. The third movement mirrors this ideal with striking precision. Beethoven, confronting the personal tragedy of his encroaching deafness and a shattered love, refuses to surrender and allow his music to disintegrate. The architectural rigour of the musical structure serves as the very frame that prevents the soul from collapsing. The Principle of “Harmony through Conflict”: According to the classical conception, the highest art achieves Harmony. Yet the most beautiful harmony is not a placid calm, but that which is attained only after the most violent conflicts have been overcome. Beethoven’s resolution of all the accumulated musical tensions in the coda, bringing the work to a decisive and triumphant close in the tonic key, is likened to man rediscovering peace and his rightful place before the Divine or Fate. The Exemplary Respect for Artistic Discipline: The ancients demanded the highest standards of formal propriety in art. In this movement of Beethoven they find a perfect answer: a great artist may pour forth the full force of his individuality and the most passionate emotions without ever violating the fundamental laws that give birth to Beauty. This, then, is why traditional listeners regard the third movement as a pinnacle of synthesis: it unites the fiery, ardent quality of emotion (characteristic of Southern cultures) with the lucid discipline, restraint, and tightly logical structure of the intellect (characteristic of Northern cultures). In simple terms, listeners cherish this movement not merely because it is thrilling to the ear, but because it proves that even in the greatest storms of life, man can still preserve within himself a noble and exalted order.

𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀

15,091 görüntüleme • 2 ay önce

Remembering the great Jaco Pastorius who was born on this day in 1951. Known for revolutionising the role of the electric bass in jazz, Pastorius brought the instrument out of the background into the center of the stage. His playing was known for its highly technical, latin-influenced 16th-note funk, lyrical soloing on fretless bass and innovative use of harmonics. He was inducted into the Down Beat Jazz Hall of Fame in 1988, one of only seven bassists so honoured, and the only electric bass guitarist. He recorded albums as a solo artist and band leader and was a member of the jazz fusion group Weather Report from 1976 to 1981. He also collaborated with numerous artists, including Pat Metheny and Joni Mitchell. Here, he is performing “Donna Lee” with Bobby Mintzer on saxophone, Randy Brecker on trumpet, Othello Molineaux on steel drums, Peter Erskine on drums and Don Alias on percussion live at the Montreal Jazz Festival in 1982.
2:14

Remembering the great Jaco Pastorius who was born on this day in 1951. Known for revolutionising the role of the electric bass in jazz, Pastorius brought the instrument out of the background into the center of the stage. His playing was known for its highly technical, latin-influenced 16th-note funk, lyrical soloing on fretless bass and innovative use of harmonics. He was inducted into the Down Beat Jazz Hall of Fame in 1988, one of only seven bassists so honoured, and the only electric bass guitarist. He recorded albums as a solo artist and band leader and was a member of the jazz fusion group Weather Report from 1976 to 1981. He also collaborated with numerous artists, including Pat Metheny and Joni Mitchell. Here, he is performing “Donna Lee” with Bobby Mintzer on saxophone, Randy Brecker on trumpet, Othello Molineaux on steel drums, Peter Erskine on drums and Don Alias on percussion live at the Montreal Jazz Festival in 1982.

The Jazz Estate

218,368 görüntüleme • 2 yıl önce

Why The Cat Concerto still fascinates classical music lovers 🎹✨ Released in 1947, this Oscar-winning Tom & Jerry short is set to Liszt’s Hungarian Rhapsody No. 2—one of the most technically demanding piano pieces ever written. What makes it special? The animation doesn’t just follow the music—it matches real piano technique. Every movement of Tom’s hands reflects how a pianist would actually play this virtuosic work. Add in perfect comedic timing, synchronized with every phrase and flourish, and you get a rare masterpiece where classical music and animation truly become one. A timeless reminder: great music—and great comedy—are all about timing. 🎶 #ClassicalMusic #Liszt #Animation #MusicLovers #Piano
2:34

Why The Cat Concerto still fascinates classical music lovers 🎹✨ Released in 1947, this Oscar-winning Tom & Jerry short is set to Liszt’s Hungarian Rhapsody No. 2—one of the most technically demanding piano pieces ever written. What makes it special? The animation doesn’t just follow the music—it matches real piano technique. Every movement of Tom’s hands reflects how a pianist would actually play this virtuosic work. Add in perfect comedic timing, synchronized with every phrase and flourish, and you get a rare masterpiece where classical music and animation truly become one. A timeless reminder: great music—and great comedy—are all about timing. 🎶 #ClassicalMusic #Liszt #Animation #MusicLovers #Piano

𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀

29,679 görüntüleme • 6 ay önce

Every day when you're Walking down the street, Everybody that you meet Has an original point of view. And I say - Hey! (Hey!) What a wonderful kind of day If we could learn to work and play And get along with each other. You gotta listen to your heart, Listen to the beat, Listen to the rhythm, The rhythm of the street. Open up your eyes. Open up your ears. Get together And make things better By working together. It's a simple message, And it comes from the heart. Believe in yourself, For that's the place to start. And I say - Hey! (Hey!) What a wonderful kind of day If we could learn to work and play And get along with each other. Hey! What a wonderful kind of day. Hey! What a wonderful kind of day. Hey! 🎶
0:52

Every day when you're Walking down the street, Everybody that you meet Has an original point of view. And I say - Hey! (Hey!) What a wonderful kind of day If we could learn to work and play And get along with each other. You gotta listen to your heart, Listen to the beat, Listen to the rhythm, The rhythm of the street. Open up your eyes. Open up your ears. Get together And make things better By working together. It's a simple message, And it comes from the heart. Believe in yourself, For that's the place to start. And I say - Hey! (Hey!) What a wonderful kind of day If we could learn to work and play And get along with each other. Hey! What a wonderful kind of day. Hey! What a wonderful kind of day. Hey! 🎶

𝗘𝗟🐕⚒️👁️⃤

22,335 görüntüleme • 5 ay önce