Bach, J.S. Partita No. 3 in E, BWV 1006
played by Nathan Milstein
Castlevania SotN - Wood Carving Partita - Piano
(Check out for the improved version: http://br.youtube.com/watch?v=-DfIw0A3zQk Much better quality!!) A great music arranged from a great game!! Musicão, arranjado de um jogão
Rita Pavone - La partita di pallone (live)
GO TO HER WEBSITE: http://www.ritapavone.it/ August 23, 1945) is an Italian ballad and rock singer who enjoyed success through the 1960s. Pavone is also an actress. Rita Pavone was born in Turin. In 1962 she participated in the first Festival degli Sconosciuti ("Festival of the Unknown"), a song competition for amateur artists, winning the contest. Her self-titled 1963 album, led by the hit single "La partita di pallone" ("The Ball Game") made her a national star at 17, and international attention soon followed. In the summer of 1964 she had chart success in the United States with a record sung in English called "Remember Me", backed with "Just Once More". In 1965, Pavone participated as a musician guest in The Ed Sullivan Show, becoming a frequent guest there until 1970. Meanwhile, Pavone scored a string of hits, both with ballads and rock songs, in Spain, where she became a teen idol. Pavone enjoyed so much fame in Spain that it was commented, during a 2005 television documentary from that country, that such success for a foreign singer there is indeed rare. Rita Pavone in the United States sang alongside Diana Ross and The Supremes, Ella Fitzgerald, Tom Jones, Duke Ellington, Paul Anka and a number of singers of the era. It is said that Elvis Presley made a painting of her after she went to Memphis and he met her at a recording studio. Barbra Streisand recorded a duo with her. Pavone sang at Carnegie Hall in New York city during this era. Returning to Italy, she made her debut as an actress, working in five films and participating in shows such as Giornalino di Gian Burrasca (a children TV show), Alta Pressione, Stasera Rita ("Tonight Rita") and Studio Uno, a variety show. In 1982, she participated in Come Alice ("Like Alice"), which became a hit in Italian television. Rita Pavone starred in six movies during the 1960s; Clementine Cherie (1963), Rita la figlia americana (1965), Rita la zanzara (1966), Non stuzzicate la zanzara (1967), Little Rita nel west (1968) and La Feldmarescialla (1968). The two "zanzara" movies, together with the Giornalino di Gianburrasca (1965) were directed by Lina Wertmuller, who remains to these days one of Rita's biggest fans. Although her movie career targeted a teen audience and lacked great artistic value, her movies have found today a cult niche. At this stage it has to be pointed out Rita Pavone was also extremely popular in the UK for a short while in late 1966 and through 1967. RCA Victor issued two of her singles in quick succession, "Heart" and "You, Only You", and both hit the UK Top 30 during this period. In 1968 Pavone married in Switzerland her talent scout and organizer of the first song contest she won, the also well known Italian singer Teddy Reno. This event caused a scandal in the Italian society of the time because Teddy Reno (whose real name is Ferruccio Ricordi) was still married to his first wife, Ms. Livia Protti, and in Italy there was no divorce law until 1970. They re-married each other in Italy in 1971. Later on during the 1980s she would participate in comedy films, such as 2 sul pianerottolo, Risate in salotto and Santarellina. In 1992, Pavone returned to the United States, where she sang during a multiple artists concert that included Whitney Houston, Frank Sinatra, the Bolshoi Ballet and Cher at the Sands hotel in Atlantic City. She then turned to acting in theater, participating in a William Shakespeare play. In 2002, Pavone had a concert at Miami's Dade Auditorium. Pavone and her husband Reno now live in Ticino, Switzerland. They have two sons, Alessandro and Giorgio, both of whom have become involved in show business themselves, Alessandro as a radio show host and Giorgio as a rock singer. Rita Pavone was a Senate candidate in the Italian general election of 2006. She participated as candidate for Per l'Italia nel Mondo (For Italy in the World), a centre-right list, led by minister Mirko Tremaglia, which is present only in the foreign constituencies.
J.S.Bach. Partita for flute solo
Alexandra Grot /flute/ performs Bach Partita. Recorded in Munich, 18.02.2008
Fantozzi - partita a calcio organizzata da Filini
Così dovrebbero essere le partite di pallone del nuovo millenio, dovrebbero sudarli tutti i soldi che prendono i calciatori! :D Grandi Villaggio e Reder!
Mozart - Gran Partita - Frans Brüggen
"Furtwängler, le must, Brüggen, l'autre must" Le Monde de la Musique. Menuetto from the historic recording with Members of the 18th Century Orchestra (1988). The Stadler Trio was formed a while before, and its members play in this project. Notice the first Trio of the Menuet for 2 Clarinets and 2 Basset Horns. During the Gran Partita tours the Stadler Trio always played one piece, also by Mozart, in the first part of the concerts. From the "25 pieces" KV 439b, Frans Bruggen often chose Larghetto, 17. Frans Brüggen, one of the best and most influential conductors ever, conducted this Menuetto understanding like nobody else the two great features of the piece: the dance and the sonata-form structure. C.R. PERFORMERS Ku Ebbinge (The Netherlands) - Oboe Alayne Leslie (USA) - Oboe Eric Hoeprich (USA) - Clarinet Guy van Waas (Belgium) - Clarinet Alf Hörberg (Sweden) - Basset Horn Carles Riera (Catalonia - Spain) - Basset Horn Ab Koster (The Netherlands) - Horn Stefan Blonk (The Netherlands) - Horn Claude Maury (France) - Horn Teunis van der Zwart (The Netherlands) - Horn Danny Bond (USA) - Bassoon Donna Agrell (Alaska - USA) - Bassoon Anthony Woodrow (England - UK) - Double Bass Quotation of the video by Philips
Gran Partita
On January 1st 2006 the NBE (www.nbe.nl) played parts of Mozart's serenade for winds, the 'Gran Partita', in their annual New Year's Concert in the Concertgebouw, Amsterdam.
Bobby McFerrin Bach Partita 3 violin
Improvisación de Bobby McFerrin sobre la Partita para violín solo nº 3 de J. S. Bach
Tůma - Partita a Quattro in D Minor - Mov. 1-3/5
FRANTIŠEK IGNÁC ANTONÍN TŮMA (1704-1774) Partita a quattro for two violins, viola, and basso continuo in in D minor 1. Andante 2. Presto 3. Arietta: Andante Performed by Concerto Italiano Directed by Rinaldo Alessandrini *František Ignác Antonín Tůma was an important Czech composer of the Baroque era. Born in Kostelec nad Orlici, Bohemia, he lived the greater part of his life in Vienna, first as director of music for Count Franz Ferdinand Kinsky, later filling a similar office for the widow of Emperor Karl VI. He was an important late-baroque composer, organist, gambist and theorbist. Tůma received his early musical training from his father, parish organist at Kostelec, and probably studied at the Clementinum, an important Jesuit seminary in Prague. He likely sang as a tenor chorister under B.M. Černohorský (an important composer and organist) at the Minorite church of St James, and he is believed to have received musical instruction from him. Tůma then went to Vienna, where he was active as a church musician; according to Marpurg he became a vice-Kapellmeister at Vienna in 1722. Tůma's name first appears in Viennese records in April 1729, when the birth of a son was recorded. In 1731 he became 'Compositor und Capellen-Meister' to Count Franz Ferdinand Kinsky, who was the High Chancellor of Bohemia. Kinsky's patronage made it possible for him to study counterpoint with J.J. Fux in Vienna. He participated in the premiere of Fux's opera "Constanza e Fortezza" along with Jiri Antonin Benda and Sylvius Leopold Weiss. In 1734, Kinsky recommended Tůma for the post of the Kapellmeister to Prague Cathedral, but his recommendation arrived too late and Tůma may have remained in Kinsky's service until the latter's death in 1741. In that year he was appointed Kapellmeister to the dowager empress, widow of Emperor Karl VI. On her death in 1750 Tůma received a pension. For the next 18 years he remained in Vienna and was active as a composer and as a player on the bass viol and the theorbo; he was esteemed by the court and the nobility, and at least one work may have been commissioned from him by the Empress Maria Theresa. After the death of his wife in about 1768 Tůma lived at the Premonstratensian monastery of Geras (Lower Austria), but in his last illness he returned to Vienna and died in the convent of the Merciful Brethren at Leopoldstadt. Tůma's music belongs stylistically to the late Baroque. His sacred works, which were known to Haydn and Mozart, were noted by his contemporaries for their solidity of texture and their sensitive treatment of the text as well as for their chromaticism. His instrumental music includes trio and quartet sonatas, sinfonias and partitas, mostly for strings and continuo; some of them were clearly intended for orchestral use. Among his sacred works we find some 65 masses, 29 psalms and 5 settings of the Stabat Mater.
Glenn Gould Moments- P.01 Partita no.2 in C minor
Glenn Gould, one of the greatest pianists of our time plays Partita in C minor no.2 for a small audience, his dog!
Milan 1 - Napoli 0 Intervista Dopo Partita Edy Reja - Ezequiel Lazvezzi e PierPaolo Marino
Milan-Napoli 1-0: Denis sbaglia porta e il Milan vince e vola I partenopei rimangono in dieci per un tempo e i rossoneri nel finale trovano i tre punti. Emozionante come quella degli anni '80, Milan-Napoli è stata una partita fatta di agonismo, tecnica, sorprese, polemiche e cuore. Alla fine vince il Milan grazie ad un autogol di Denis, ma il Napoli dimostra di avere tutte le carte in regola per sognare i posti alti della classifica. Il Milan torna in vetta dopo anni di sofferenze italiche. Il popolo rossonero e i giocatori fanno festa. In campo - Nel Milan si rivede titolare Ronaldinho. Al suo fianco Kakà, davanti Borriello. A centrocampo Seedorf parte dal centro. In difesa, in mezzo Kaladze non ce la fa e gioca Favalli. Jankulovski recuperato a sinistra. Nel Napoli tutto confermato: Lavezzi-Denis è la coppia dattacco, Mannini e Maggio sulle fasce. Trio difensivo formato da Contini, Cannavaro e Santacroce. Si gioca - Pochi spazi, grande aggressività. Il Napoli gioca piuttosto basso e chiude tutti i varchi. Il Milan prova a manovrare ma è difficile. Ne escono venti minuti di gioco molto spezzettato con lunica emozione data da un salvataggio sulla linea di Blasi. La prima conclusione nello specchio arriva al 24: Lavezzi dal limite e parata sicura di Abbiati. Il Milan aumenta il ritmo, attacca molto, gioca anche bene ma al 40 è ancora il Napoli ad avere unoccasione con Lavezzi. Nel finale di tempo espulsione per Maggio, doppia ammonizione per lui. Nella ripresa, fuori Hamsik, dentro Aronica. Reja, in dieci, giustamente si copre un po. Al 3 ci prova Ronaldinho con un bel tiro di destro. Iezzo è bravissimo. Poi Lavezzi facile per Abbiati. Ancelotti inserisce Pato per Ambrosini. Milan molto offensivo. Occasione anche per Borriello ma Iezzo è ancora attentissimo. Al 28 Kaka, Ronaldinho, Zambrotta. Tre tiri nella stessa azione e la palla non entra. Poi Pato mette fuori di testa da un metro. All85' rigore per il Milan: calcia Kakà e Iezzo para. Passa un minuto, calcio di punizione di Ronaldinho, deviazione di Denis e palla in rete. Milan in vantaggio. Allultimo Pazienza va vicino al pareggio. La chiave - Dopo lespulsione di Maggio, la chiave è sicuramente la bravura di Iezzo che per tutto il secondo tempo impedisce al Milan di segnare. La chiave si spezza solo in occasione dellautogol di Denis. Troppo anche per un super Iezzo. La chicca - Le parate del portiere napoletano sono uno spot per i ragazzini che vogliono imparare il ruolo. I dribbling e la capacità di tenere palla di Lavezzi sono cose da super giocatore. Top&Flop - Kaka ci prova in tutte le maniere ma ha la pecca del rigore sbagliato. Pato sbaglia tutto e non aiuta i suoi. Ronaldinho, non ancora la top, continua a migliorare. Lavezzi è imprendibile, bravissimo soprattutto con il Napoli in dieci. Denis è sfortunato. Maggio commette uningenuità e lascia i suoi in inferiorità. Super Iezzo.
Intervista Dopo Partita FC Torino 1 - SSC Napoli 0 A Edy Reja
Torino-Napoli 1-0: Bianchi è tornato ROLANDINHOOOOOOO! Il risultato arride a chi ha avuto più voglia di vincere, Dzemaili è un trascinatore e Bianchi piazza la zampata vincente. Novellino ha dato una svolta al campionato del Toro, portando una grinta e una consapevolezza dei proprio mezzi che finora si era vista molto raramente tra gli uomini di Cairo. Il Napoli fallisce per lennesima volta in trasferta, anche se ci sono le attenuanti delle assenze di Hamsik e Lavezzi In Campo AllOlimpico si affrontano due squadre largamente rimaneggiate per squalifiche ed infortuni: i padroni di casa devono rinunciare a Pratali e Barone, appiedati dal giudice sportivo, oltre a Diana e Colombo ed i lungodegenti Corini e Abbruscato. Novellino ripropone il 4-4-2 con Abate e Rubin sugli esterni, il giovane Ogbonna sulla corsia sinistra di difesa con il conseguente spostamento di Pisano al centro ed in attacco Bianchi, match winner della partita di Coppa Italia allArtemio Franchi, in coppia con lex Amoruso. Gli azzurri fanno a meno di Lavezzi e Cannavaro, anche loro squalificati per somma di ammonizioni, oltre che di Marechiaro Hamsik, uscito anzitempo nel vittorioso incontro di domenica sera contro il Lecce. Rinaudo trova posto al centro della difesa con il rientrante Santacroce alla sua destra, Gargano recupera e si propone in veste di centrocampista con licenza di offendere, con Pazienza e Blasi a coprirgli le spalle, in avanti linsolito duo Zalayeta-Denis. Si gioca Il match parte con qualche schermaglia offensiva da ambo le parti ma la prima vera occasione è firmata Pazienza, che coglie palla poco fuori larea granata dopo uno splendido lavoro di Gargano e spedisce un missile verso Sereni, che respinge in maniera spettacolare una conclusione comunque insidiosa. Intorno al 30 inizia a rendersi pericoloso anche il Toro, che nel giro di 60 secondi cerca la via del gol con Natali e Bianchi, ma la situazione non cambia. Sul finire del primo tempo il Toro si rifà sotto con laccelerazione di Ogbonna, che salta Santacroce e mette al centro, liscio di Rinaudo, Bianchi di prima intenzione ma Iezzo si fa trovare pronto. Nella ripresa le squadre tornano in campo con gli stessi 22 che hanno terminato la prima frazione di gioco, con il solo Rosina che ha metà primo tempo ha rimpiazzato lacciaccato Rubin. Al 53 percussione di Dzemaili che resiste ad una carica e serve ad Amoruso, lex azzurro tocca morbido per Rosina, conclusione che si stampa sul palo ma sulla respinta è prontissimo Bianchi a mettere dentro a porta sguarnita, e il Toro va in vantaggio. I granata volano sulle ali dellentusiasmo, Bianchi si conquista una punizione dubbia dal limite dellaria, sul tiro di Rosinaldo è bravissimo Iezzo a respingere in angolo. Poi si alternano occasioni da ambo le parti, con Dzemaili da un lato e Gargano e Vitale dallaltro, ma i portieri parano agevolmente. Gli azzurri attaccano confusamente alla ricerca del pari, sbagliando tantissimi appoggi elementari, mentre il Torino riparte in contropiede tenendo in ambasce la retroguardia azzurra che si regge grazie ad un Contini in giornata di grazia. La chiave Lingresso in campo di Rosina cambia il volto alla partita, non tanto perché sfoggi una prestazione da incorniciare ma perché con lui cambiano gli equilibri in campo ed il Toro si schiera con un 4-3-1-2 con cui mette in difficoltà gli azzurri. La prestazione di Dzemaili e la giornata no di Zalayeta, Mannini e Maggio fanno il resto. La chicca E un incontro che non offre grandi emozioni e non presenta colpi di pregevole fattura, forse una cosa da premiare è la testardaggine con cui Dzemaili da terra protegge palla dopo un azione in solitaria sulla fascia e serve al centro dando il via al gol partita di Bianchi. Belli anche un paio di salvataggi di Contini su Abate e una scivolata provvidenziale di Santacroce su Rosina lanciato a rete in contropiede. Top & Flop Dzemaili è una forza della natura, Contini tiene a galla in Napoli. Maggio e Mannini sono irriconoscibili, Zalayeta non la vede mai.
Leonard Pennario/Debussy "Moonlight" Clair de Lune Partita
================================ Claude Debussy Clair de Lune "Moonlight"* Suite bergamasque, for piano, L.75 Suite/Partita for Keyboard 1 No. 1, "Prelude" 2 No. 2, "Menuet" 3 No. 3, "Clair de lune"* 4 No. 4, "Passepied" Leonard Pennario,piano. ================================ Related information: Composition Description by Blair Johnston It is difficult to establish an appropriate chronological place for Claude Debussy's Suite bergamasque within his output. He originally composed the piece in 1890, but it was not published until 1905, and the extent to which he revised it during the interval is unclear. Certainly the published work is a great stylistic advance over the few short piano works which preceded it during the late 1880s and early 1890s, but whether that advance is due to an early maturity or to much later alteration will perhaps always elude historians. The Suite, Debussy's tribute to the French Baroque clavecinistes (harpsichordists), comprises four individual movements: Prélude, Menuet, Clair de lune, and Passepied. It is interesting to note that Debussy originally titled the third and fourth pieces "Promenade sentimentale" and "Pavane," respectively, and changed their titles only shortly before publishing the Suite in 1905. This has caused many to question the purported connection between the much-celebrated Clair de lune and Paul Verlaine's poem of the same name. However, Debussy's connection with Verlaine's poetry is far reaching enough for the association to be meaningful. He had already set the poem "Clair de lune," as well as several others, for voice and piano on two separate occasions by 1891, and the word bergamasque is itself contained within that particular text. http://www.allmusic.com/cg/amg.dll?p=amg&sql=42:45739~T1 His 1984-85 season included a nationwide television appearance on the PBS "Gala of Stars" hosted by Beverly Sills, where the pianist performed Gershwin's I Got Rhythm Variations with Metropolitan Opera Music Director James Levine conducting the American Symphony Orchestra. He also made highly successful tours of Yugoslavia and Bulgaria in May, which resulted in immediate invitations for re-engagements. In the spring of 1984 he made his first tour of the Far East, appearing in recital and with orchestra in Hong Kong, Taiwan, Singapore and Manila and is scheduled to return to the Far East in the near future. In other parts of the world the list continues to be as impressive: Berlin Philharmonic, Vienna Symphony, London Philharmonic, London Symphony, Philharmonia Orchestra, Royal Philharmonic, BBC Symphony, Halle Orchestra, Hague Philharmonic, Bayerischer Rundfunk, Tonhalle Orchestra and Frankfurt Symphony, among others. Concerts with the greatest orchestras have made Pennario the choice of world-famous conductors. Among the nearly one hundred eminent artists with whom he has collaborated, a reasonable list must included Eugene Ormandy, Sir Georg Solti, Zubin Mehta, André Previn, Seija Ozawa, Otto Klemperer, Fritz Reiner, Rafael Kubelik, Leopold Stokowski, Thomas Schippers, Arthur Fiedler, André Kostelanetz, Sir John Barbirolli, Edward Van Beinum, Sir Adrian Boult, Vladimir Golschmann, Josef Krips, Dimitri Mitropoulos, Pierre Monteux, Charles Munch, Artur Rodzinski, Kenneth Schermerhorn, Robert Shaw, Gerard Schwarz and Alfred Wallenstein. Of the artist's concerts with the Berlin Philharmonic and Rafael Kubelik, Die Welt of Berlin cited his "superb technique and keyboard touch of exceptional sensitivity." Le Figaro of Paris calls Pennario "a phenomenon of the piano." In London, Andrew Porter told his readers in The New Statesman and The Nation, "Nobody today plays the piano better than Pennario." In Carnegie Hall and in Los Angeles, Pennario collaborated in history-making concerts with Jascha Heifetz and Gregor Piatigorsky. Thousands of music lovers attended, hearing these three great artists in brilliant performances of trios by Beethoven, Brahms, Dvorák, Arensky, Turina and Mendelssohn. http://www.pennario.org/Pages/Leonard-Pennario-Biography.html ================================ *Note:Support the artist, their families and their legacy by purchasing their music.
Bach Partita 3; Prelude played on viola by Scott Slapin
Scott Slapin was the first person to record all the Bach Sonatas and Partitas for Violin on viola. This is one of the more popular movements from this set of works.
Gieseking plays Bach Partita I (Prelude, Sarabande and Gigue)
Johann Sebastian Bach (1685-1750): From Partita in B flat major, BWV 825: 1. Praeludium 2. Sarabande 3. Gigue Walter Gieseking (1895-1956), piano Recorded ca. 1939 (Prelude, Sarabande) and 1934 (Gigue). "A tall, hulking man walked on to the stage at Carnegie Hall last week, bent himself into an awkward bow at the piano, and played superbly Bach's Partita No. 2 in C Minor, three Scarlatti sonatas, Schumann's C Major Fantasia and the first book of Debussy preludes. He was Walter Gieseking, came from Germany for another extended tour, and he played, as he has always played, music that he himself has tried truly and found good. Three seasons have passed since Gieseking made an inconspicuous début in Æolian Hall, Manhattan (TIME, Feb. 22, 1926). "His European notices were so superlative," said Manager Charles L. Wagner afterward, "I knew no one would believe them so I decided to let his music speak for itself." His music spoke so eloquently that Sunday afternoon that members of the small audience told their friends. No one, according to some, had ever played Bach like Gieseking, and they rhapsodized over an amazing technic, a style that was as fluent and easy as it was immaculate. But his Bach, others said, could not compare with his Debussy which surely was the essence of poetry. The controversy, as over most artistic matters, might have been endless, for Gieseking is not a specialist. He is, critics say unanimously, a great musician. To appraise him seems almost impertinent and so they write of his playing in awkward, halting sentences which struggle with big words like "pellucid" and "perfection." Many a first name has been dropped with fame. Kreisler needs no Fritz for identification, no Mister for his dignity. Neither does Paderewski need his Ignaze Jan, nor Gieseking now his Walter. But ten years ago Kreisler was a celebrated violinist and Paderewski was the Premier of Poland as well as pianist, while Gieseking was just a young German whose money had gone in the War and whose profession was music. Swiftly, however, his reputation was made, first with modern music, because in Germany there was a demand for all music that had been made during Wartime, music particularly of France and Spain. Then Gieseking played Bach, Schumann, Schubert, Scarlatti. . . . Today there are no favorites, save that he never plays in public any music which he does not feel sure he understands. Feeling it all and having it sure within him has been his great ideal. He practices little because once after a long tramp through the Alps he found he played just as well with out having touched a piano for six weeks. Now he memorizes much of his music away from the piano, riding on trains, climbing mountains, studying birds, flowers, butterflies. He does not smoke, play cards nor eat butter. He is 33, quite bald, and father of a 17 months-old daughter named Jutta." Time, Monday, Feb. 04, 1929
