Gr. Dinicu, Hora Staccato (Gr. Dinicu)

Chopin, Etudes, Op. 10 (Bolesław Woytowicz)

Zimerman and Beirnstein play the Piano Concerto #5 in E flat major Op. 73 (Emperor) by Ludwig Van Beethoven, with the Wiener Philharmoniker

Mussorgsky, Pictures at an Exhibition (Mikhail Pletnev)

Beethoven, Symphony VII, Allegretto, mvt 2

Arthur Rubinstein - Chopin Waltz Op. 70 No. 1 in G flat

Mozart: Clarinet Concerto - II. Adagio

Breakfast BBC 3

"Radio 3's flagship breakfast programme with great pieces, great performances - and a few surprises!"

http://www.bbc.co.uk/programmes/b006tmr6

Rebel, Les Elemens

"The thunderous dissonance which opens 'Les Elemens' is probably the most shocking and original single bar of music composed up to that time. How much more extraordinary to reflect that it was written by a 71 year old pensioner whose music had been previously praised for its 'Wisdom, Taste and Tenderness' and its avoidance of the 'Frightening and Monstrous'!

Jean-Féry Rebel enjoyed a long and productive career as one of Louis XIV favoured musicians. He was presented at court at the age of 8 by his father, a royal musician, where he reportedly astonished the King with his virtuosity on the violin. He was encouraged by Lully and rose through the ranks to eventually direct the 24 Violons du Roy. When he stepped down from conducting the Concert Spirituel in 1735 he had a long series of successful instrumental works and ballet scores to look back on (although his one Opera; Ulysse, was a failure) However, he was soon tempted out of retirement by Prince Carignan to write the score that has become his most famous: 'Les Elemens'. The work was premiered in 1737 without the opening movement Le Cahos. The "Mercure de France" reported,

'On the 27th of September the Royal Academy of Music played, after the Opera 'Cadmus' a new symphonic work, by Mr. Rebel Senior (Rebel's son was also a prominent musician) entitled 'The Elements', danced by Mlles. Salle and Mariette and by Ms. Dumoulin, Dupre, Malter and Javilliers. This Divertissement, which was perfectly executed, and much applauded, is adorned with a set which characterized the Elements and made a very grand effect.' " (http://www.linnrecords.com/recording-les-elemens--marais-and-rebel-sacd.aspx)

http://www.youtube.com/user/OedipusTyrannus#p/c/D6ECD2E84C67B4D6/0/2GsafGwqmeg

Beethoven, Choral fantasie in C minor

"The Fantasia op. 80 (or “Choral Fantasy”) was first performed at the Akademie (benefit concert) of 22 December 1808, which also saw the premières of the Fifth and Sixth Symphonies as well as a performance of portion of the C major Mass. To conclude this memorable concert program, Beethoven wanted a “brilliant Finale” that would unite in a single piece the different musical elements highlighted in the concert night: piano solo, chorus and orchestra. The Fantasia op. 80, written shortly prior, was thus written expressly to fulfill this role.

Beethoven himself played the piano part and the opening solo offers an example of his improvisational style (at the première he did, in fact, improvise this section). The piece, however, is best known for an early version of that simplice theme that Beethoven would later use as the melodic line for the Ode to Joy theme in the Ninth Symphony. The text was provided by the poet Christoph Kuffner with Beethoven's input. The theme – universal fraternity with the meetings of arts – also foreshadows Schiller's "Ode to Joy". This, along with the strong musical similarities, means there is an obvious connection between the Fantasia op. 80 with the finale of the 9th Symphony (...)." (http://hr.cantorion.org/music/1853/Choral_Fantasy_in_C_minor_Full_Score)

http://www.youtube.com/user/OedipusTyrannus#p/c/40D5C98762917CBF/0/o-NCAIwSN3U

Itzhak Perlman and Isaac Stern play Bach Double Concerto (part 1)

Composer of the week on BBC Radio 3

"Exploring the life and works of composers."

http://www.bbc.co.uk/programmes/b006tnxf

Beethoven - Appassionata Sonata 23 Opus 57

Vivaldi, L´estro armonico, Op.3 Concerto No.10

Beethoven

"A three-episode TV mini-series produced by the BBC, Beethoven is a very powerful and moving docudrama based on the life and music of Ludwig van Beethoven (1770-1827). Fantastically written and beautifully directed, the series constitutes a thorough and accurate reconstruction of Beethoven's life, from his troubled childhood to his death at the age of 56. Paul Rhys's masterful portrayal of Beethoven is particularly noteworthy, doing well to convey in vivid colour the natural genius of the Great Man and the isolation, turmoil and despair he experienced throughout his eventful life. Insightful narration from the popular conductor, composer and presenter Charles Hazlewood does well to add a sophisticated educational dimension to the series, as well as to encourage a seamless and comfortable flow of the story. This is an absolute must-watch!"

http://www.youtube.com/watch?v=67pKZrxgv4Y

The Genius of Mozart

Discovering Tchaikovsky

"Pyotr Il'yich Tchaikovsky was the author of some of the most popular themes in all of classical music. He founded no school, struck out no new paths or compositional methods, and sought few innovations in his works. Yet the power and communicative sweep of his best music elevates it to classic status, even if it lacks the formal boldness and harmonic sophistication heard in the compositions of his contemporaries, Wagner and Bruckner. It was Tchaikovsky's unique melodic charm that could, whether in his Piano Concerto No. 1 or in his ballet The Nutcracker or in his tragic last symphony, make the music sound familiar on first hearing." (http://www.classicalarchives.com/composer/3448.html#tvf=tracks&tv=about)

http://www.youtube.com/watch?v=EQ3LHWp4gtk

Concierto en do mayor para flautín, cuerdas y bajo continuo RV 443. Antonio Vivaldi. Giovanni Antonini solista

Symphony No. 25 (Mozart) - Wiener Philharmoniker and Karl Bohm

Johann Sebastian Bach, Brandenburg Concertos

"The autograph score of Bach's Brandenburg Concertos is dated 24 March 1721. In an elegant French dedication Bach explains that the collection of six concertos was the result of a commission from Christian Ludwig, Margrave of Brandenburg, whom he had met two years earlier - probably while in Berlin to collect a new Mietke harpsichord for his employer Prince Leopold of Cöthen. Musicologists and performers have always found it impossible to explain the wayward variety of the Brandenburg Concertos, often concluding (in desperation) that the diversity of the pieces must be the very quality which binds them together. The fact that Bach presented the Margrave with a score rather than parts is in itself significant, and the works were in any case unsuitable for the Margrave's small musical establishment. There is no evidence that the Margrave either thanked Bach or paid him a fee for the commission." (http://www.recorderhomepage.net/brandenburgs.html)

http://www.youtube.com/watch?v=Zpf38dQpMzk&feature=PlayList&p=0B8C370A1754F355&playnext_from=PL&index=0&playnext=1