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kankuli Thành viên rất tích cực

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29/12/2001

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5.487

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1.Symphonic Metamorphisis of Themes by Carl Maria Von Weber: I. (Allegro)2.Symphonic Metamorphisis of Themes by Carl Maria Von Weber: II. "Turandot" (Scherzo, Moderato)3.Symphonic Metamorphisis of Themes by Carl Maria Von Weber: III. Andantino4.Symphonic Metamorphisis of Themes by Carl Maria Von Weber: IV. Marsch5.Nobilissima Visione (Orchestral Suite): Ia. Einleitung6.Nobilissima Visione (Orchestral Suite): Ib. Rondo, Massig Schnell7.Nobilissima Visione (Orchestral Suite): II. Marsch und Pastorale - Lebhaft8.Nobilissima Visione (Orchestral Suite): III. Passacaglia (Feierlich Bewegt)9.Mathis Der Maler (Symphony): I. Concert of Angels10.Mathis Der Maler (Symphony): II. Entombment11.Mathis Der Maler (Symphony): III. The Temptation of St. Antony

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kankuli, 27/06/2005

#351

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kankuli Thành viên rất tích cực

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29/12/2001

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5.487

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1.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Tema (Vivace) - Variation I (Alla Marcia Maestoso)2.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation II (Poco Allegro)3.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation III (L''istesso Tempo)4.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation IV (Un Poco Più Vivace)5.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation V (Allegro Vivace)6.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation VI (Allegro Ma Non Troppo E Serioso)7.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation VII (Un Poco Più Allegro)8.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation VIII (Poco Vivace)9.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation IX (Allegro Pesante E Risoluto)10.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation X (Presto)11.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation XI (Allegretto)12.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation XII (Un Poco Più Moto)13.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation XIII (Vivace)14.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation XIV (Grave E Maestoso)15.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation XV (Presto Scherzando)16.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation XVI (Allegro)17.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation XVII18.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation XVIII (Poco Moderato)19.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation XIX (Presto)20.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation XX (Andante)21.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation XXI (Allegro Con Brio - Meno Allegro - Tempo I)22.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation XXII (Allegro Molto): Alla "Notte E Giorno Faticar" Di Mozart23.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation XXIII (Allegro Assai)24.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation XXIV: Fughetta (Andante)25.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation XXV (Allegro)26.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation XXVI27.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation XXVII (Vivace)28.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation XXVIII (Allegro)29.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation XXIX (Adagio Ma Non Troppo)30.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation XXX (Andante, Sempre Cantabile)31.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation XXXI (Largo, Molto Espressivo)32.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation XXXII: Fuga (Allegro - Poco Adagio)33.33 Piano Variations in C, Op.120 On a Waltz By Anton Diabelli: Variation XXXIII (Tempo Di Minuetto Moderato, Ma Non Tirarsi Dietro)

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kankuli, 27/06/2005

#352

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phkh Thành viên mới

Tham gia ngày:

02/03/2005

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61

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0

Mấy anh Kankuli và Apo ơi! Cho nghe mấy dĩa piano tiếp đi, nhất là Sviatoslav Richter nhé
Bác Apo ơi! Cái dĩa Olympia Richter đánh Bétovan bị hỏng 2 bài đầu rùi! tiếc quá!
Ludwig Van Beethoven
01-Six Variations in F major Variations Op 34 1-6
02-Six Variations in D Major, Op 76
Bó gối ngồi chờ mấy dĩa Hans Hotter hoài vẫn chưa thấy
hihihi thanks mọi nguời tốt bụng trong nay nhe.
Được phkh sửa chữa / chuyển vào 00:21 ngày 28/06/2005

phkh, 27/06/2005

#353

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Apomethe Thành viên quen thuộc

Tham gia ngày:

22/10/2004

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937

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Mình đã biết cái đĩa đấy bị hỏng rồi nhưng hiện bây giờ vẫn đang bị cấm access vào host nên không up lại được

http://www.nhaccodien.info/forum/

Apomethe, 28/06/2005

#354

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arryo Thành viên mới

Tham gia ngày:

07/06/2004

Bài viết:

495

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0

Apomethe ơi, cho mình hỏi cái, mình đã d/l codec rồi nhưng sao vẫn có một số bài không nghe được, VD như track 4 và track 5 của CD này.

Apomethe;1 đã viết:

Để dành sẵn vài album rồi nên có cấm vẫn post như thường
The substantial changes of expression during the long and complex period that lasted from the closing years of the 16th century right through the period of Romanticism were clearly evident in the uses to which music was put as well.
In the Baroque, instruments had usually been interchangeable but composers of Classical, and still more Romantic music laid down with increasing precision what instruments their works were to be performed by. At the same time, however, the longstanding tra***ion of writing transcriptions survived, but it came to serve different, and in fact opposite purposes. Baroque transcriptions were clearly designed to serve practical needs connected with the material itself, but later it was a search for better ways to express emotions and win the approval of the widest possible audience that motivated an extensive repertoire of paraphrases, variations and arrangements of popular works. These became so profuse that they often overshadowed the originals. A highly typical example is the near symbiosis that developed between the flute and the violin, which came to share their repertoires in all periods, from Leclair to Schubert, Franck to Prokofiev and Vivaldi to Khachaturian. A natural and consistent parallel development took plan in the instruments. Both found their greatest masters in the 19th century, in Paganini, Briccialdi and Bohm. But this was also the period in which the typical differences in scope offered by the two instruments achieved prominence, making all attempts to imitate one on the other far too complicated. The tremendous boost which Paganini''''s playing gave to composers for the violin, and to the concept of virtuosity as such, found the flute at a juncture when it was undergoing profound structural changes in mechanics, sound and melodic nature.
The majority of the new advances in flute technique found proper expression only in the early 20th century, through avant-garde compositions.
Once the technical innovations and the pur-posefulness of expression had been achieved, flautists turned their attention to the works of the Romantics and this led to the transcriptions of the most famous violin concertos of Paganini and Mendelssohn.
Felix Mendelssohn Bartholdy
Violin concerto in E minor, Op. 64
The work is dedicated to a close friend of Mendelssohn''''s the violinist Ferdinand David, to whom Nicolo Paganini also dedicated his virtuoso Moto perpetuo. The Violin Concerto is a late work, which he composed between 1838 and 1844. Its melodic and rhythmic inventiveness and its musical form (which departs from the Classical concerto tra***ions by assigning the opening theme to the soloist) immediately gave it the status of a masterpiece. The great success of the work and the major role given to the solo flute in the orchestration led one anonymous flautist to request a transcription of the violin part from Mendelssohn. Mendelssohn accepted the commission, but only for the third movement, and with an expressly subdued, piano accompaniment. This version, unfortunately, has been lost, and a flute version of the concerto,
by the flautist Wilhelm Popp (1828-1903), was only published several years after the composer''''s death. More recently there have been several other versions, performed by Andras Adorjan, Jean-Pierre Rampal and Janos Balint, and these succeed in transmitting the atmosphere of this concerto with all its emotional tensions. Balint''''s transcription, which makes use of circular breathing, employs thoroughly up-to-date playing techniques.
Violin Concerto in D minor (A 822)
This work, e***ed by Yehudi Menuhin and first published in 1952, shows how Mendelssohn the composer grew to maturity. He composed it in 1822, when he was 13, and it clearly displays the genius of the boy who had given his first performance at the age of nine and who was twelve when he met Goethe, on whom he left a deep impression. But he was still to go to Paris, where he would study under Cherubini and meet Rossini and Meyerbeer. The melodic invention, modulations, and intensive and fluent expression are all the more enchanting and surprising for all that. Janos Balint''''s, the first transcription of the work, draws on the tra***ion of polymorphic scoring which had allowed a range of instrumental choice in early periods.
Nicolo Paganini
Violin Concerto in B flat minor, "La campanel-la", third movement
"La campanella", a concerto in B flat minor symptomatic of the purest vocal spirit of bel canto inspired by Rossini, made an outstanding impression in Paganini''''s day. It has
enchanted both the general public and a whole range of composers, from the Romantics to the Moderns, who have drawn inspiration from the daring of the piece. Chopin, Liszt, Schumann, Brahms, Beyer, Busoni, Kreisler and Kochanski were all influenced by this capricious, bizarre, tight-rope-walking bravura. The full transcription of the Violin concerto in B flat minor, by Janos Balint and Gian-Luca Petrucci, is the very first flute version of a Paganini work with orchestral accompaniment.
Gian-Luca Petrucci
Janos Balint was born in 1961 Hungary. In 1984 he graduated from the flute department of the Liszt Ferenc Academy of Music in Budapest. Between 1981 and 1991 he played the first flute of the Hungarian Radio and Television Symphony Orchestra (Budapest Symphony Orchestra). In 1984, be won the first prize at the international competition in Ancona. He won the scholarship of the Cziffra Foundation in 1986. He has given concerts as a soloist and a chamber musician in practically all the countries of Europe with such partners as Ruggiero Ricci, Gervase de Peyer, Gyorgy Cziffra, Tamas Vasary and Pierre Pierlot. He broadcast on radio and television several times. He has been a guest professor at the Ottorino Respighi Music Academy in Rome since 1987, and regularly gives mastercourses in Assisi, Rome, Reggio Calabria and Perugia. At present, he is a teacher at the Conservatory in Szeged (Hungary).
01. Concerto for Violin and Orchestra No.2 in e minor Op.64 1.Allegro molto appasionato
02. Concerto for Violin and Orchestra No.2 in e minor Op.64 2.Andante
03. Concerto for Violin and Orchestra No.2 in e minor Op.64 3.Allegretto non troppo-Allegro molto vivace
04. Concerto for Violin and Orchestra No. 1 in D minor - 1.Allegro molto
05. Concerto for Violin and Orchestra No. 1 in D minor - 2.Andante
06. Concerto for Violin and Orchestra No. 1 in D minor - 3.Allegro
07. La campanella - Rondo a la clochette
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<div><hr></div><div><a href="http://hatng.multiply.com/r/b"><img style="FLOAT: right" src="http://images.hatng.multiply.com/badge/U2FsdGVkX1.2tT0D8waAeoS4N5nA7EeFlKyRtlF4GwesX0X5kXDbBcEsJDK0fvXxmagWmI15ySrWWIVACIpATw==/badge.gif" border=0></a><font face=Verdana><strong><font size=3 color=royalblue>.... Life is senseless without music ...</font></strong></div>

arryo, 28/06/2005

#355

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kankuli Thành viên rất tích cực

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29/12/2001

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5.487

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1

1.Cinderella, Op. 87: I. Introduction. Andante dolce2.Cinderella, Op. 87: II. Quarrel. Allegretto3.Cinderella, Op. 87: III. Winter. Adagio4.Cinderella, Op. 87: IV. Spring. Vivace con brio5.Cinderella, Op. 87: V. Cinderella''s Valse. Andante - Allegretto6.Cinderella, Op. 87: VI. Gavotte. Allegretto7.Cinderella, Op. 87: VII. Gallop. Presto8.Cinderella, Op. 87: VIII. Valse lente. Adagio9.Cinderella, Op. 87: IX. Finale. Allegro moderato10.Ma mère l''oye: I. Pavane de la belle au bois dormant11.Ma mère l''oye: II. Petit poucet12.Ma mère l''oye: III. Laideronnette, impératrice des pagodes13.Ma mère l''oye: IV. Les entretiens de la belle et de la bête14.Ma mère l''oye: V. Le jardin féerique

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kankuli, 28/06/2005

#356

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vnuh Thành viên mới

Tham gia ngày:

13/05/2003

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44

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Anh Kan ơi link Track 9 của album Hindemith Mathis Der Maler Symphonie bị chết.
http://www.classicalvn.org/NCD/Hindemith_Mathis_Der_Maler_Symphonie/Track9.mp3

vnuh, 28/06/2005

#357

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gianghanh2610 Thành viên tích cực

Tham gia ngày:

02/12/2014

Bài viết:

145

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1

nhạc cổ điển luôn đem lại những cảm giác nhẹ nhàng cho người nghe

Nơi bán hương liệu uy tín nhất

gianghanh2610, 21/03/2015

#358

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Nguoigiaucungkhoc99 Thành viên quen thuộc

Tham gia ngày:

26/03/2015

Bài viết:

42

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9

Cần gì kiến thức, em thấy thích thì nghe thôi ạ

Nguoigiaucungkhoc99, 21/05/2015

#359

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HoaHongXanh102 Thành viên rất tích cực

Tham gia ngày:

01/06/2015

Bài viết:

207

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63

French Suites hay tuyệt

HoaHongXanh102, 01/06/2015

#360

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