CM//RR is the leading independent classical music channel on RU-vid. We are driven by a passion for excellence. It is the key to our success. CMRR is here for you to: 1. LEARN MORE about composers, works and performers, through DETAILED EXPLANATIONS that accompany each video. 2. enjoy a HIGH-QUALITY AUDIO EXPERIENCE thanks to the REMASTERING of sometimes old, but essential recordings. 3. experience NEW EMOTIONS by taking advantage of our experience which highlights THE BEST RECORDINGS of the entire repertoire. Our subscribers speak up ❤️: Jong Chan Choi: I do like your comment to each music. It helps me really a lot to appreciate the music. Keep up the good work! Aquarius P: Thanks for posting the links to the digital music stores. What a beautifully remastered series! Jonathan Mortola: The variety of composers featured here is amazing. 류순열: 수고 많으셨습니다~☕ Ruben Elsteinil: gran calidad en los interpretes y muy buena seleccion musical. Subscribe 😉
The impossible genius of this man: can you imagine sitting down to write a piece of music in the style of an early nineteenth century symphony, where you were supposed to stick to a bunch of rules if you wanted to get it published, and you haven’t done one before, and you go, “Fxck this: I’m starting this with a dominant seventh and I don’t care what ‘Uncle Franz’ says”. This isn’t the act of composing: this is little bits of music coming to mind and forcing their way out onto paper. He sits down to try writing a symphony, he knows it’s got to be done but he’s got a dominant seventh to put on paper and, well, “lets see if this works …”!
When I look at Beethoven’s face while listening to these variations, as tortured as they are in places, I sense depression, and frustration. It feels as though he suffered from what today would be recognized as clinical depression, and you sense it not only during the dark minor key passages but also in some of his reflective melodies in major keys, such as you hear at 19 minutes in this recording: this is not happy music; this is the sound of musings in a depressed mind. Lord knows, if he was already significantly deaf by this time, bearing in mind that he was also a performing musician, both professionally and socially, he would be constantly reminded of his problem, especially when working or making music with friends. One can feel when he is at work alone: there is a kind of intense sadness interspersed with feelings of joy - the kind of unspoken sensuous joy you get from the beauty of melodies. Whether he got that from his own melodies or from fragments of Haydn and others that he liked, I don’t know, but sometimes you can feel it. I sense it in fragments of his piano sonatas; I don’t feel it in the large works such as the Missa Solemnis or the choral section of the ninth symphony, where I feel a professionally fulfilled Beethoven being well paid for his work. I don’t know whether this is factually correct; I just feel it that way. There are parts of the big piano sonatas, notably the Hammerklavier, where he is struggling with frustrations and the emotional evidence is pouring out; at these times, it feels as though he has lost the sonata form and he is wandering around with whatever comes into his head. In this recording you feel it … and then he gets a big idea and starts ‘Les Adieux” - “screw the rules; I’m fed up and I’m just writing down what I want and someone else can rewrite a clean copy if they want to get people playing it …” Les Adieux is so intense: it starts out as a formal piece and then goes berserk as the umbrage and frustration starts coming out; I wonder what was bothering him at the time; maybe a musicologist with the knowledge of history can answer that for me.
Mozart created a surprise in his day by combining the flute and the harp in concertante style. Almost 30 minutes of pure music. The andantino is particularly beautiful. **COMPLETE TRACKLIST AND PRESENTATION: COMING SOON**
Album available // Mozart: Concerto for Flute and Harp by Lily Laskine 🎧 Qobuz (Hi-Res) bit.ly/3wA09mF Tidal (Hi-Res) bit.ly/49WOoW4 🎧 Apple Music (Lossless) apple.co/4bYojHI Deezer (Hi-Fi) bit.ly/4c0vuPS 🎧 Amazon Music amzn.to/3P77hgN (Hi-Res) Spotify (mp3) spoti.fi/3P1nm7R 🎧 RU-vid Music (mp4) bit.ly/3IjpJ2b
Dreams coceived in childhood are as evanescent as the landscapes of dreams after awaking. His Perfomed Beethoven’s music is a breath of fresh air in this trasient world, so much hassle and snnoyances, in our life of less than100 years
Excelente producción buena oŕquesracio n. Mucha cuidado en audio . Presencia de calidad profesional tec nica. . En resumen una grabación muy excelente a la altura o nivel de la obra compuesta. .gracias totales por lo que
Del compositor o autor es lo máximo vigente moderno no tiene esos sonidos burgueses que le dan un tono actual. Por otro lado la calidad de la orquesta el diré ctor es bueno. Lo más fabuloso es la calidD de la grabación si n aplausos le da más calidad a la reducción micrófonos bien ubicados.
And ..I'm not that young anymore..to..get closer to you..somewhere on the other side of the street..and..I dont look like..I could tell you..have a good day..or..just..hello..nothing is the same..but the flowers..There on your doorway..helped me ..existing..like they existed..one day more..
Klemperer’s playing of the Crucifixus is beyond words. The opening notes on the oboe are tear drops, (most conductors do not seem to understand, but Klemperer nailed it), gentle and slow, then the chorus comes in, in hushed and reverent voice, with sadness and a sense of awe. Da Vinci’s Pieta comes to mind.
Когда я слышу, как концерт, Бетховена играет Гилельс, То кажется, что с музыкой душа моя соединилась... И отодвинув суету, в пространстве растворилась! 🙏😇🕊️🌹🤗🌻🦋
Hmm, very clean, I think too clean for Ravel, not nearly enough pedal. It is, after all, impressionistic music. Noctuelles lacking in magic. Oiseaux and Bargue a bit more dreamy and appropriate, for me. Technically proficient, and you can hear every note. But with this music, I don't think hearing ever note is the point. Gieseking he ain't.
