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Sergio Cánovas
Spain
เข้าร่วมเมื่อ 30 ก.ย. 2015
The main purpose of this channel is to share symphony cycles with detailed and useful descriptions. My range goes mostly from XIX century to the current day, from forgotten or unknown composers to the classics of the canon. First half of every month are dedicated to the symphonies, followed by a varied selection of pieces to offer variety, orchestral music for the most part.
If you are a composer with a written and recorded symphony, please contact me through mail for a possible collaboration. I also encourage you to send me your suggestions and comments related to the channel.
I am also collaborating with the following website: (www.historiadelasinfonia.es), an Spanish encyclopedic project dedicated to the the symphony, analyzing the evolution of the genre by nations and centuries.
If you are a composer with a written and recorded symphony, please contact me through mail for a possible collaboration. I also encourage you to send me your suggestions and comments related to the channel.
I am also collaborating with the following website: (www.historiadelasinfonia.es), an Spanish encyclopedic project dedicated to the the symphony, analyzing the evolution of the genre by nations and centuries.
Symphony No.18 in F major - Wolfgang Amadeus Mozart
Northern Chamber Orchestra conducted by Nicholas Ward.
I - Allegro: 0:00
II - Andantino grazioso: 5:32
III - Menuetto: 11:23
IV - Molto allegro: 13:40
Mozart's Symphony No.18 was composed in Salzburg on May 1772, a couple of months after Hieronymus von Colloredo was elected as Prince-Archbishop of Salzburg, an appointment which would drastically change the fortunes of the Mozart family. Unlike the two previous symphonies written in the Italian overture form, No.18 represents a significant step forward for the genre and Mozart's development. It is longer, more sophisticated, well-developed and features a distinctive orchestration with four horns and flutes instead of oboes. Overall, the work represents a fusion of the best of the Viennese symphonic traditions with the distinctly Italian cantabile. Premiere date and performers involved are unknown.
Between 1769-73, the young Mozart and his father Leopold made three Italian journeys. The first, an extended tour of 15 months, was financed by performances for the nobility and by public concerts, and took in the most important Italian cities. The second and third journeys were to Milan, for Wolfgang to complete operas that had been commissioned there on the first visit. From the perspective of Wolfgang's musical development, the journeys were a considerable success, and his talents were recognised by honours which included a papal knighthood and memberships in leading philharmonic societies. Wolfgang's Italian triumphs proved short-lived however; he failed to obtain a court position, and despite the critical and popular successes of his Milan operas, he was not invited to write another, and there were no further commissions from any of the other centres he had visited.
The first movement is structured in sonata form. It begins with a lively and animated main theme in F major, introduced in piano by violins in canon before passing to full orchestra in forte. A tremolo transition leads into the playful and light second theme in C major, dominated by a trill figure. After this exposition is repeated, the development starts with several entries of the main theme in imitative counterpoint, which then leads to several modulations and reaches a dramatic climax. The material is then recapitulated in the home key of F major. An elegant coda ends the allegro with an optional repeat from the development onwards.
The second movement is also written in sonata form. It opens with a lyrical and cantabile main theme in B-flat major, presented by muted violins before passing to forte in full orchestra. A more gracile and bucolic second theme in F major then appears, exposed by the orchestra with abundant use of trills. This exposition is then repeated. The ensuing development is concise, focusing on the main theme in a minor key modulation. The material is then recapitulated in the home key of B-flat major. This recapitulation is extended by new motives on flutes and horns, deviating from the classical standards. String mutes are also removed in the solemn coda of the andantino.
The third movement is a minuet in ternary form. It begins with a two-part, rhythmic and elegant main theme in F major, introduced by violins over a continuous two-note ostinato from violas before passing to forte in full orchestra. Each part is repeated. The central trio section offers a two-part, dance-like second theme in C major. It then progresses towards a cadenza-like sequence of harmonies, only briefly interrupted by horn fanfares in G major. The minuet is then repeated in its entirety, ending the movement gracefully.
The fourth movement is structured in an expanded sonata form, being the most substantial part of the whole symphony. It opens with a jovial and animated main theme in F major, exposed forte by full orchestra. A tremolo transition leads to an equally lively second theme in C major, presented through a series of dynamic contrasts between piano violin figures answered by forte orchestral tuttis. It is followed by a bucolic third theme (also in C major), introduced by violins but later in tandem with flutes. A vigorous climax is reached, leading to a repeat of this extended exposition. The development section is short in comparison, transforming and modulating a series of motives derived from the main material. The themes are then recapitulated in the home key of F major. A brilliant coda ends the work.
Picture: Anonymous portrait of Wolfgang Amadeus Mozart at the age of 13 in Verona (1770, attributed to Giambettino Cignaroli or Saverio Dalla Rosa).
Musical analysis partially written by myself. Source: tinyurl.com/265ojw7f
To check the score: tinyurl.com/2atjs7a5
I - Allegro: 0:00
II - Andantino grazioso: 5:32
III - Menuetto: 11:23
IV - Molto allegro: 13:40
Mozart's Symphony No.18 was composed in Salzburg on May 1772, a couple of months after Hieronymus von Colloredo was elected as Prince-Archbishop of Salzburg, an appointment which would drastically change the fortunes of the Mozart family. Unlike the two previous symphonies written in the Italian overture form, No.18 represents a significant step forward for the genre and Mozart's development. It is longer, more sophisticated, well-developed and features a distinctive orchestration with four horns and flutes instead of oboes. Overall, the work represents a fusion of the best of the Viennese symphonic traditions with the distinctly Italian cantabile. Premiere date and performers involved are unknown.
Between 1769-73, the young Mozart and his father Leopold made three Italian journeys. The first, an extended tour of 15 months, was financed by performances for the nobility and by public concerts, and took in the most important Italian cities. The second and third journeys were to Milan, for Wolfgang to complete operas that had been commissioned there on the first visit. From the perspective of Wolfgang's musical development, the journeys were a considerable success, and his talents were recognised by honours which included a papal knighthood and memberships in leading philharmonic societies. Wolfgang's Italian triumphs proved short-lived however; he failed to obtain a court position, and despite the critical and popular successes of his Milan operas, he was not invited to write another, and there were no further commissions from any of the other centres he had visited.
The first movement is structured in sonata form. It begins with a lively and animated main theme in F major, introduced in piano by violins in canon before passing to full orchestra in forte. A tremolo transition leads into the playful and light second theme in C major, dominated by a trill figure. After this exposition is repeated, the development starts with several entries of the main theme in imitative counterpoint, which then leads to several modulations and reaches a dramatic climax. The material is then recapitulated in the home key of F major. An elegant coda ends the allegro with an optional repeat from the development onwards.
The second movement is also written in sonata form. It opens with a lyrical and cantabile main theme in B-flat major, presented by muted violins before passing to forte in full orchestra. A more gracile and bucolic second theme in F major then appears, exposed by the orchestra with abundant use of trills. This exposition is then repeated. The ensuing development is concise, focusing on the main theme in a minor key modulation. The material is then recapitulated in the home key of B-flat major. This recapitulation is extended by new motives on flutes and horns, deviating from the classical standards. String mutes are also removed in the solemn coda of the andantino.
The third movement is a minuet in ternary form. It begins with a two-part, rhythmic and elegant main theme in F major, introduced by violins over a continuous two-note ostinato from violas before passing to forte in full orchestra. Each part is repeated. The central trio section offers a two-part, dance-like second theme in C major. It then progresses towards a cadenza-like sequence of harmonies, only briefly interrupted by horn fanfares in G major. The minuet is then repeated in its entirety, ending the movement gracefully.
The fourth movement is structured in an expanded sonata form, being the most substantial part of the whole symphony. It opens with a jovial and animated main theme in F major, exposed forte by full orchestra. A tremolo transition leads to an equally lively second theme in C major, presented through a series of dynamic contrasts between piano violin figures answered by forte orchestral tuttis. It is followed by a bucolic third theme (also in C major), introduced by violins but later in tandem with flutes. A vigorous climax is reached, leading to a repeat of this extended exposition. The development section is short in comparison, transforming and modulating a series of motives derived from the main material. The themes are then recapitulated in the home key of F major. A brilliant coda ends the work.
Picture: Anonymous portrait of Wolfgang Amadeus Mozart at the age of 13 in Verona (1770, attributed to Giambettino Cignaroli or Saverio Dalla Rosa).
Musical analysis partially written by myself. Source: tinyurl.com/265ojw7f
To check the score: tinyurl.com/2atjs7a5
มุมมอง: 3
วีดีโอ
Symphony No.17 in G major - Wolfgang Amadeus Mozart
มุมมอง 994 ชั่วโมงที่ผ่านมา
English Chamber Orchestra conducted by Jeffrey Tate. I - Allegro: 0:00 II - Andante: 4:16 III - Allegro: 7:53 Mozart's Symphony No.17 was composed in Salzburg on May 1772, a couple of months after Hieronymus von Colloredo was elected as Prince-Archbishop of Salzburg, an appointment which would drastically change the fortunes of the Mozart family. Alongside Symphony No.16, these symphonies repre...
Symphony No.16 in C major - Wolfgang Amadeus Mozart
มุมมอง 1289 ชั่วโมงที่ผ่านมา
English Chamber Orchestra conducted by Jeffrey Tate. I - Allegro maestoso: 0:00 II - Andante grazioso: 4:29 III - Allegro: 9:17 Mozart's Symphony No.16 was composed in Salzburg in March 1772, the same month in which Hieronymus von Colloredo was elected as Prince-Archbishop of Salzburg, an appointment which would drastically change the fortunes of the Mozart family. Alongside Symphony No.17, the...
Symphony No.15 in G major - Wolfgang Amadeus Mozart
มุมมอง 9916 ชั่วโมงที่ผ่านมา
Northern Chamber Orchestra conducted by Nicholas Ward. I - Allegro: 0:00 II - Andante: 3:34 III - Menuetto: 8:19 IV - Presto: 11:09 Mozart's Symphony No.15 was composed in Salzburg between January and February 1772. It may have been written as a sort of "calling card" to secure his position as court concertmaster in Salzburg, after the recent death of Archbishop Sigismund von Schrattenbach. Ove...
Symphony No.14 in A major - Wolfgang Amadeus Mozart
มุมมอง 69921 ชั่วโมงที่ผ่านมา
Northern Chamber Orchestra conducted by Nicholas Ward. I - Allegro moderato: 0:00 II - Andante: 5:19 III - Menuetto: 9:25 IV - Molto allegro: 12:31 Mozart's Symphony No.14 was composed in December 1771, possibly began in the journey back home from Italy and finished in Salzburg. It may have been written as a sort of "calling card" to secure his position as court concertmaster in Salzburg, after...
Symphony No.13 in F major - Wolfgang Amadeus Mozart
มุมมอง 102วันที่ผ่านมา
Northern Chamber Orchestra conducted by Nicholas Ward. I - Allegro: 0:00 II - Andante: 3:56 III - Menuetto: 8:35 IV - Molto allegro: 10:56 Mozart's Symphony No.13 was composed in Milan between October and November 1771, during the second travel to Italy by Wolfgang and his father Leopold. It may have been premiered in a private concert in Milan on November 22/23 of 1771, performed for Albert Mi...
Symphony in C major (K. 96) - Wolfgang Amadeus Mozart
มุมมอง 113วันที่ผ่านมา
Mozarteum Orchestra Salzburg conducted by Hans Graf. I - Allegro: 0:00 II - Andante: 2:00 III - Menuetto: 5:55 IV - Allegro molto: 9:06 Mozart's Symphony in C major (K. 96) was probably composed in Milan between August and December 1771, during the second travel to Italy by Wolfgang and his father Leopold. The authenticity of this symphony is uncertain, as the autograph was lost. The dates give...
Symphony in D major (K. 111+120) - Wolfgang Amadeus Mozart
มุมมอง 12914 วันที่ผ่านมา
English Chamber Orchestra conducted by Jeffrey Tate. I - Allegro assai: 0:00 II - Andante grazioso: 3:09 III - Finale. Presto: 4:29 Mozart's Symphony in D major (K. 111 120) was probably composed in Milan between August and December 1771, during the second travel to Italy by Wolfgang and his father Leopold. The still quite precocious composer was commissioned an opera during his first visit to ...
Symphony No.12 in G major - Wolfgang Amadeus Mozart
มุมมอง 13614 วันที่ผ่านมา
Northern Chamber Orchestra conducted by Nicholas Ward. I - Allegro: 0:00 II - Andante: 6:19 III - Menuetto: 10:59 IV - Allegro: 14:18 Mozart's Symphony No.12 was composed in Salzburg in the Summer of 1771, shortly before the second Italian journey of between August and December 1771. It may have been premiered on a concert in Milan on November 22/23 of 1771, but this is not confirmed. Departing...
Symphony in B-flat major (K. 74g) - Wolfgang Amadeus Mozart
มุมมอง 11414 วันที่ผ่านมา
Unknown performers. I - Allegro: 0:00 II - Andante: 3:46 III - Menuetto: 10:23 IV - Allegro molto: 13:00 Mozart's Symphony in B-flat major (K. 74g) was possibly composed in Salzburg in the Summer of 1771, shortly before the second Italian journey of between August and December 1771. It was considered lost before a set of parts were discovered in 1910 (hence its unnumbered status), which were lo...
Symphony in F major (K. 75) - Wolfgang Amadeus Mozart
มุมมอง 12621 วันที่ผ่านมา
Mozarteum Orchestra Salzburg conducted by Hans Graf. I - Allegro: 0:00 II - Menuetto: 2:58 III - Andantino: 6:23 IV - Allegro: 11:02 Mozart's Symphony in F major (K. 75) was composed between March and August 1771, after returning to Salzburg from his first Italian journey with his father Leopold. As with several of Mozart's unnumbered symphonies, the authorship is debated. Only a set of parts r...
Symphony No.11 in D major - Wolfgang Amadeus Mozart
มุมมอง 13821 วันที่ผ่านมา
Northern Chamber Orchestra conducted by Nicholas Ward. I - Allegro: 0:00 II - Andante: 3:42 III - Allegro: 6:20 Mozart's Symphony No.11 was probably composed between February and July 1700, during Mozart's first travel to Italy with his father Leopold. On August 4 of 1770, Mozart wrote a letter his sister Maria Anna: "In the meantime, I have already composed four Italian symphonies". These prob...
Symphony in D major (K. 97) - Wolfgang Amadeus Mozart
มุมมอง 19021 วันที่ผ่านมา
Mozarteum Orchestra Salzburg conducted by Hans Graf. I - Allegro: 0:00 II - Andante: 2:36 III - Menuetto: 5:48 IV - Presto: 8:23 Mozart's Symphony in D major (K. 97) was probably composed in Rome on April 1770, during Mozart's first travel to Italy with his father Leopold. No autographs exist for Mozart's four D major symphonies written during this trip (K. 81, K. 84, K. 95 and K. 97), and as s...
Symphony in D major (K. 95) - Wolfgang Amadeus Mozart
มุมมอง 14421 วันที่ผ่านมา
Mozarteum Orchestra Salzburg conducted by Hans Graf. I - Allegro: 0:00 II - Andante: 2:09 III - Menuetto: 6:47 IV - Molto allegro: 9:35 Mozart's Symphony in D major was probably composed in Rome on April 1770, during Mozart's first travel to Italy with his father Leopold. No autographs exist for Mozart's four D major symphonies written during this trip (K. 81, K. 84, K. 95 and K. 97), and as su...
Symphony in D major (K. 81) - Wolfgang Amadeus Mozart
มุมมอง 14928 วันที่ผ่านมา
Mozarteum Orchestra Salzburg conducted by Hans Graf. I - Allegro: 0:00 II - Andante: 2:58 III - Allegro molto: 8:17 Mozart's Symphony in D major was probably composed in Rome on April 1770, during Mozart's first travel to Italy with his father Leopold. No autographs exist for Mozart's four D major symphonies written during this first trip to Italy (K. 81, K. 84, K. 95 and K. 97), and as such th...
Symphony No.10 in G major - Wolfgang Amadeus Mozart
มุมมอง 159หลายเดือนก่อน
Symphony No.10 in G major - Wolfgang Amadeus Mozart
Symphony No.9 in C major - Wolfgang Amadeus Mozart
มุมมอง 196หลายเดือนก่อน
Symphony No.9 in C major - Wolfgang Amadeus Mozart
Symphony No.8 in D major - Wolfgang Amadeus Mozart
มุมมอง 164หลายเดือนก่อน
Symphony No.8 in D major - Wolfgang Amadeus Mozart
Symphony in B flat major (K. 45b) - Wolfgang Amadeus Mozart
มุมมอง 160หลายเดือนก่อน
Symphony in B flat major (K. 45b) - Wolfgang Amadeus Mozart
Symphony No.7 in D major - Wolfgang Amadeus Mozart
มุมมอง 232หลายเดือนก่อน
Symphony No.7 in D major - Wolfgang Amadeus Mozart
Symphony No.6 in F major - Wolfgang Amadeus Mozart
มุมมอง 183หลายเดือนก่อน
Symphony No.6 in F major - Wolfgang Amadeus Mozart
Symphony in F major (K. 76) - Wolfgang Amadeus Mozart
มุมมอง 222หลายเดือนก่อน
Symphony in F major (K. 76) - Wolfgang Amadeus Mozart
Symphony in G major (K. 45a) - Wolfgang Amadeus Mozart
มุมมอง 146หลายเดือนก่อน
Symphony in G major (K. 45a) - Wolfgang Amadeus Mozart
Symphony No.5 in B flat major - Wolfgang Amadeus Mozart
มุมมอง 245หลายเดือนก่อน
Symphony No.5 in B flat major - Wolfgang Amadeus Mozart
Symphony No.4 in D major - Wolfgang Amadeus Mozart
มุมมอง 217หลายเดือนก่อน
Symphony No.4 in D major - Wolfgang Amadeus Mozart
Symphony in F major (K. 19a) - Wolfgang Amadeus Mozart
มุมมอง 206หลายเดือนก่อน
Symphony in F major (K. 19a) - Wolfgang Amadeus Mozart
Symphony No.3 in E flat major (Spurious) - Wolfgang Amaeus Mozart
มุมมอง 204หลายเดือนก่อน
Symphony No.3 in E flat major (Spurious) - Wolfgang Amaeus Mozart
Symphony No.2 in B flat major (Spurious) - Wolfgang Amadeus Mozart
มุมมอง 375หลายเดือนก่อน
Symphony No.2 in B flat major (Spurious) - Wolfgang Amadeus Mozart
Symphony No.1 in E flat major - Wolfgang Amadeus Mozart
มุมมอง 554หลายเดือนก่อน
Symphony No.1 in E flat major - Wolfgang Amadeus Mozart
"A Legend" Symphonic Poem - Arnold Bax
มุมมอง 773หลายเดือนก่อน
"A Legend" Symphonic Poem - Arnold Bax
Many thanks for uploading this excellent symphony.
Magnificent symphony. The finale is spectacular!
A Silent Regency.
Why is this stuff so rarely played
That is because American neoclassicists (and generally composers that followed thats style) fell out of fashion in the fifties and sixties, and they remain largely obscure. In case you're interested, here's a good video explaining this: th-cam.com/video/lBUZ3EbTGbY/w-d-xo.html
As a German who loves the Alps I must say that this music doesn't feel like mountains at all. For me Strauss' Alpine Symphony remains untouchable.
Tremendous Slavic influences here (e.g., Russian, Finnish, folk songs). Not sure where they came from at 17 years of age, but they are definitely there.
Soothing to the mind great healing to the soul. ❤ 😂
If only it was just the music
I have a video with just the incidental music, in case you're interested: th-cam.com/video/YIk5oxSnrIw/w-d-xo.html
Omg this is like a ten fold better version of the original un remastered Fantasia rendition!!! And you can clearly tell they were musically emulating the original fantasia version, I’m in love
This might be my favorite Milhaud symphony.
Οι Έλληνες στα σχόλια να γράφουν στη γλώσσα τους, Έλεος.Το TH-cam έχει μετάφραση.
Merry Christmas everyone and thank you, Sergio.
Thanks, merry christmas you too!
Chaos as undertone
26:32 the part yall were here for
❤🎉
Muchas gracias por tu estupendo trabajo. No he entrado mucho últimamente al canal por dificultades de tiempo. Sólo unas palabras sobre la versión. No sé si es mejor o peor que otras pero es muy solida. Ponerse en cuál es el Bruckner de verdad me parece inútil. Es un autor abierto a múltiples interpretaciones debido a la propia naturaleza de su escritura. Y eso cuenta entre lo más positivo que tiene. En esta versión me gusta la solidez de la estructura y el fondo faústico que muestra. Es duro pero encaja en las vivencias del autor. Quizás bajando el nivel de armonías y grupos intermedios se puede conseguir una versión menos sólida y más brillante, pero creo que podría entenderse como una traición al duro espíritu que subyace en la composición. En todo caso, gracias.
Music outweighs patriotism and ideologies, glory glory Hallelujah...
Meu amigo fez o favor de mostrar essa preciosidade. Agora me sinto obcecada. :)
❤En algunos momentos me recuerda a Chaikovsky, sobre todo en la instrumentación
I began loving this symphony and seeing a lot of great things going on--really reminded me in many ways, texturally and tonally of Robert Simpson, particularly hearing resonance with Simpson 3 and 5. But the more I listen on, I find Pettersson just doesn't have a talent for differentiating and building structures...It all feels like the same things happening and cycling around, and often the dissonant clusters don't have any productive value...that is they can't progress. Just collage like massing of texture...You can hear often different ideas at work in the backround and they howl on without a real harmonic intersection...a less appealing kind of polytonality for my taste. Only at the very end does it emerge much like the opening. He's just so muddy and frustrating. Hopefully nobody will comment and tell me that is the point.
Another wonderful discovery. Thank you TH-cam.
Merry Christmas and thanks, Sergio.
@@CaminoAir Happy holidays too!
@@CaminoAir Also, what is your opinion of the cycle so far? Any Symphony you particularly liked?
Love this! The opening notes are a sudden rush of luscious luxuriance....
Man...that tranquillo/adagio section is killer. Great piece.
tfw emperor
Borodin was a master
Beast of a piece. Fantastic music.
Very enjoyable. Thank you.
Wonderful performance by one of the greatest conductors of British music. I'm sure I read somewhere that Vernon Handley loved this piece so much he named his daughter Fand.
It’s great love it
Να κάτσει να το γράψει στο χαρτί,απο αυτο και μονο φαίνεται τι τεχνική καταρτιση ειχε.
«Да здравствует СОЛНЦЕ-да скроется тьма!» «Мир всем народам на свете- НАМ не нужна война!» Так пели Советские дети. Спасибо! Мне понравилась музыка .
Yes radio three a merry go round of same stuff
This is a beautiful piece of classical music. Yamada is a maestro in every sense...
Τα πρώτα 5:37 💤 μετά 🎉 το χορωδιακό 👎
"Since Liszt had little experience composing for orchestral forces at the time, the piece was orchestrated by Joachim Raff" -- this is an inaccurate and somewhat misleading statement. Liszt's use of musical assistants like Raff and Conradi was sui generis, and predicated upon the fact that in his years at Weimar Liszt had at his disposal an orchestra on which he could "try out" first versions of works that he would then rework, sometimes drastically. Raff in particular overstated his role in the creation of Liszt's orchestral works later on.
If I remember well when I researched for these videos. Liszt wrote ideas and motives and then told Cornelius and Raff to orchestrate them. Then Liszt would perform these fragments with the Weimar orchestra and so on. Is that correct? If not, please point me a text that adresses this point.
@@SergioCánovasCM I'm sorry, unfortunately it's several years since I ran across the research about this very interesting topic. I do know that there has been some in-depth scholarly work on this. Liszt challenges so many of our ideas about what a "classical composer" is and how they work. In any case, whatever assistance Liszt used in the earlier years at Weimar, there is no doubt that he found his way to a very personal and still underrated use of the orchestra. I'm currently working my way through the Symphonic Poems (in Arpad Joo's marvelous recording) and am astonished anew by them.
@@SergioCánovasCM Sorry, I can't seem to locate the article I read some years back.
Music written with Mozartian ease, which rolls without any effort - naturally and joyfully, dissolving the listener in itself. It is a true pleasure to bathe in it, caused by the euphoria of the author-genius.
😇✨✨Gracias 🙏💐💫
Замечательно звучит оркестр! У музыки есть крылья,и она летит над землей на всех парусах, даря и нам ощущение полёта и радости. Музыка нас -окрыляет!
9:35-9:43, 12:41-12:49, 13:36-13:41, 14:51-14:56, 16:10-16:16, 27:21-27:28, 35:33-35:40, 39:29-39:34 - Так звучит свет, так звучат солнца и пламя...Нечасто слышал такую конкретную работу с экспрессией Скрябина, с явным намеком на его идеи света и огня в этих кадансах. Отлично показал себя оркестр.
strange - where is the later version? unknown
This poem by Bax captures me the most. I know that story behind is very serious but the sweet theme is so Disney. Can't get enough of it!
He's already mastering the suspension and the accented passing tone. Wow
I love Martinu's symphonies. There is something wonderfully vital in them, indefinable but unmistakable.
So much stuff never played on radio
Aqui nessa💗💗💗💗 página do TH-cam . Consegui melhores de Mozart.
Perfeição ❤......
Adoravelmente magnânimo . apaixonada por vc Mozart
Tief und zu Herzen gehend!