Collection of music videos

Maria Theresia von Paradis (1759-1824) was an Austrian pianist and composer. Although she lost her sight completely at the age of three, this did not prevent the outstanding work and production of this great pianist, singer and composer. Her contributions were fundamental to the musical education of her time, especially for the blind. She aroused great interest among renowned composers of her time, including Mozart and Haydn . She is currently an important reference in the history of classical music regarding her performance and musical interpretation, sources such as the " Journal de Paris " referred to her touch, interpretation and vivacity as unique.

The Siciliana (also known as sicilienne in French) is a musical form that became popular throughout Europe between the late 17th and early 18th centuries. It is a slow dance that takes place in 6/8 or 12/8 time and is characterized by the presence of a trochaic rhythm , as well as by its simple melodies and clear harmonies, and is usually written in minor mode. It is a dance similar to the gigue in terms of rhythm, but much slower and with a melancholic character.

Today we offer von Paradis ' Siciliana performed by Katerina Chatzinikolau on violin with Ani Ter-Martirosyan on piano.

Heitor Villa-Lobos (1887-1959) was a Brazilian conductor and composer, whose music was influenced by both Brazilian folk music and European classical music. He received some musical instruction from his father and had begun to pursue a professional career by 1899, the year of his father's death. He worked as a café musician playing the cello; however, he was also an occasional performer on the guitar, clarinet, and piano. As a composer, he was notoriously prolific, with a legacy of works for guitar, piano, 17 string quartets, 9 Bachianas brasileiras, 15 Choros for various musical ensembles, 12 symphonies, 18 concertante works, 4 operas, 2 film soundtracks, and numerous other works, including several ballet scores.

The Bachianas Brasileiras are a collection of nine works written for different ensembles, formally in homage to Bach . The fifth piece we present today, written for voice and eight cellos, is the best known and is performed by Amel Brahim , an Algerian soprano of Berber origin.

Franz Joseph Haydn (1732-1809), an Austrian composer whose brother Michael Haydn was also a notable composer, was one of the main pillars on which Classicism (1750-1810) was founded. At the age of six, he began his studies on the harpsichord and violin. At the age of eight, he was admitted as a chorister at St. Stephen's Cathedral in Vienna, where he received singing, piano, and violin lessons. After his voice changed, he had to survive by working multiple jobs while studying composition and analyzing the works of Carl Philipp Emanuel Bach. He maintained a close friendship with Mozart and was Beethoven's teacher. He laid the main foundations of sonata form and the formal structure of the string quartet and the symphony. He died at the age of 77 in Vienna.

The catalog of Haydn's works. Joseph Haydn's works are now classified according to the system created by Anthony van Hoboken. Each work is identified with a Roman numeral corresponding to the category, which in most cases is identified with a genre. Some categories have subdivisions, indicated by a lowercase letter, followed by an Arabic numeral corresponding to the order of the specific work within the category. These numerals are preceded by the word "Hoboken" (in memory of the catalog's author) and sometimes by "Hob" (its abbreviation).

Sturm und Drang (storm and assault) is a term that comes not from music but from literature; this term is understood as a reaction against the Baroque. In music, it criticizes polyphonic structure and mathematical speculation or symbolism, formulas that do not allow for adequate and simple expression, and the objective, rational, and comprehensible method. There is a shift from the conception of the term "affect" (in the objective sense of the Baroque) to the term "feeling" (in the subjective sense of the StudD). In Sturm und Drang, the origin of music is sought in the inner nature of man; Now, it is no longer just vocal music that can express something through words; instrumental music can now also express something through a wide range of resources: wide intervals, intense dissonances, agile syncopations, tremolo passages, dense textures, irregular phrases, activity in the high registers, suspended cadences, unexpected silences, and abrupt contrasts of dynamics, textures, harmonies, and rhythm.

Symphony No. 45 in F-sharp minor, Hob. I:45, also known as the Farewell Symphony or in German Abschiedssinfonie, was composed by Joseph Haydn in 1772, during the composer's Sturm und Drang period. Overall, the symphony is a melancholic work.

I (0:05) ALLEGRO ASSAI. The first movement is written in the key of F-sharp minor, in 3/4 time, and follows sonata form (exposition-development-recapitulation). It is a turbulent and hectic episode in an extremely unusual key in the 18th century, which gives it a sense of tension. It begins in the typical manner of Haydn's Sturm und Drang period, with descending minor arpeggios in the first violins, along with syncopated notes in the second violins and sustained chords in the winds. The composer experiments with form, following sonata form but deviating from it on several occasions.

II (5:18) ADAGIO. The second movement is in A major, in 3/8 time, and also follows sonata form. The slow movement begins with a relaxing melody played by muted violins, representing a motif that "has hiccups." The mood gradually becomes more somber and meditative with the alternation between major and minor modes. This is followed by a series of dissonant suspensions sustained for several bars, which are extended to a considerable length, while the same material appears in the recapitulation.

III (12:50) MENUET. ALLEGRETTO – TRIO. The third movement is in F-sharp major and the time signature is 3/4. In the Minuet, it is notable that the final cadence of each section is constructed so that it sounds very weak (falling on the third beat of the bar) and creates a sense of inconclusiveness.

IV (17:00) FINALE. PRESTO – ADAGIO. The fourth and final movement returns to the initial key, F-sharp major, and the time signature is alla breve in the Presto and shifts to 3/8 in the Adagio. It begins, as is characteristic of Haydn, as a rapid finale in sonata form and in the tonic of the work. The Adagio of this movement is written in 3/8 time and modulates from A major to F-sharp minor, at which point the musicians leave their seats in the following order: first oboe and second horn (with solos), bassoon (without solo), second oboe and first horn (with solos), double basses (solo), cellos (without solo), orchestral violins (with solos; first-chair musicians do not play), viola (without solo). The first-chair violins remain to complete the work.

Today it is offered to us by the Chamber Orchestra Affrettando conducted by Russian Anna Rakitina.

André Jolivet (1905 – 1974) was a French composer. Noted for his dedication to French musical culture and thought, his music is characterized by its interest in acoustics and tonality, and by the influences of both the present and the past on music, particularly those of instruments used in the past. Born in Paris to a family of artists, Jolivet studied cello and then composition with Paul Le Flem , with whom he focused particularly on gaining a solid grounding in classical forms of harmony and counterpoint. He became interested in atonality after hearing the music of Arnold Schoenberg in concert; recommended by Paul Le Flem , he became the only European student of Edgard Varèse , with whom he deepened his knowledge of musical acoustics, atonal composition systems, and orchestration.

In 1945 he became musical director of the Comédie-Française , a post he held until 1959, composing numerous incidental music for the works of Molière, Jean Racine, Sophocles and Paul Claudel , while continuing his musical work for the concert hall. During the 1950s and 1960s he composed numerous concertos for soloists with orchestra; he was also one of the few composers to write music for the Ondes Martenot . In 1965 he was appointed professor of composition at the Conservatoire de Paris , where he died in 1974, leaving his opera " Bogomilé ou Le lieutenant perdu " unfinished.

Today we present his Percussion Concerto structured in four parts: I (0´34´´) ROBUSTO .-. II (5´36´´) DOLENTE .-. III (11´21´´) RÁPIDAMENTE .-. IV (15´05´´) ALLEGREMENTE, performed by the San Francisco Conservatory of Music Orchestra , with percussionist Masako Iguchi as soloist and conducted by British maestro Alisdair Neale .

tATu was a Russian duo formed in Moscow in 1999 and consisting of singers Lena Katina and Yulia Volkova , as well as musicians Troy MacCubbin, Sven Martin, Domen Vajevec and Steve Wilson. It is the most internationally successful Russian band; its fame has spread to much of Europe and the English-speaking world. They represented Russia in the Eurovision Song Contest 2003, finishing third, three points away from being crowned champions of that edition. At the end of March 2009, the singers announced in a statement that tATu was splitting up and that they wanted to shine for now in their solo careers. However, in mid-February 2014, after several years of separation, they announced their return.

Gernikako arbola , Iparragirre 's best known song , is a zortziko in homage to the Tree of Gernika and the Basque fueros it represents. The song was premiered in 1853 by José Mª Iparragirre at the Café de San Luis in Madrid , accompanied on piano by the maestro from Durango, Juan María Blas de Altuna , organist of Lekeitio . The zortziko was repeated again and again amid spontaneous bravos and applause , and at the last minute Gernikako arbola was sung in chorus by fifty, sixty or more voices, while Iparragirre and Altuna were given a standing ovation. There are serious doubts about the authorship of the song as to whether it was Iparragirre or Altuna , although without further conclusive evidence, we continue with the traditional attribution.

José María Iparragirre (Urretxu, Gipuzkoa, 1820- 1881) was a well-known bertsolari (improviser of verses) and popular musician, who led a bohemian and adventurous life; hence his nickname of the Basque bard , an image that he supported with an inseparable guitar and the improvisation of songs and bertsos . His work, written mostly in Basque , includes some of the most significant and popular songs of the Basque Country . Considered by the authorities of his time as a dangerous "mass agitator", he suffered imprisonment and exile, lived for 19 years in Argentina and Uruguay , and upon his return he earned his living with the recitals he gave throughout the Basque Country . He died of pneumonia in his hometown of Urretxu , where he is buried.

The Gernika tree is a specimen of oak ( Quercus robur ) located in front of the Assembly House in the Biscayan town of Gernika . This tree symbolizes the traditional freedoms of Biscay and, by extension, those of the entire Basque Country .

Today's interpretation is offered to us by the Basque singer-songwriter Gontzal Mendibil accompanied by the EHU ko Abesbatza, Areatzako Banda and Bilboko Orkestra Sinfonikoa .

Mexican folk dance is a representation of Mexican folklore; it reflects rites, culture, and traditions. Even before the arrival of the Spanish, ritual dance was an important part of daily life for the people who inhabited Mexico . The religious leaders who evangelized these lands tried to suppress it; however, given its inherent risks, they adapted or Christianized it, giving it new meanings. Today, folk dance serves to express feelings, emotions, and experiences throughout life and to revive ancient traditions and rites. It also serves to celebrate important occasions for towns, neighborhoods, families, and cities in the country.

Huapango is originally a musical and dance genre, apparently originating from the Huasteca region of Mexico, and performed by a small group of people, usually a trio. In this case, we reproduce a scene from the film by the great Jorge Negrete .

Basque dances ( Euskal Dantzak in Basque) are a very important part of Basque culture and a fundamental part of its folklore. Each historical territory, or province, has its own dances, and each town also has its own dance that is customarily performed at its major festivals. Among the most notable dances are the pilgrimage or plaza dances , based on dances held at pilgrimages and whose participation was popular and spontaneous; the sword dances , which have clear parallels with European dances of the same type; and the end-of-festival dances performed to mark the end of a festival, the end of one cycle, and the beginning of another. Among the traditional dances, we can mention, among many others: Agurra, Fandangoa, Banakoa, Zortzikoa , and Arin Arina .

Kresala Danza Taldea founded in 1968 by the dancer and choreographer Gene Yurre and directed since 1993 by Faustino Aranzabal , is a pioneering group in the Basque Country in the search for new paths in Basque dance. On December 3, 2004 the group Kresala , invited by the Bakiotarra group Itxas Alde , performed this new suite of five movements, Sagar dantza , based on the apple, with melodies collected by the folklorists Aita Donostia and Resurrección Mª de Azkue : I (0´53´´) .-. II (2´39´´) .-. III (3´43´´).-. IV (5´31´´).-. V (6´48´´).