Adaneth - Arts & Literature

- DOCUMENTARY SEGMENT: Mozart arrived in Mannheim in October 1777, hoping to become court composer to the Elector of Bavaria, Charles IV Theodore (1724–1799); under Charles Theodore, Mannheim and Schwetzingen, where Charles Theodore maintained a country palace, had become important European artistic and cultural centers. Travelling without his father Leopold, it was the first time in Mozart′s life that he had sought employment and artistic recognition on his own. He pursued a permanent paid position at court without success, in no small part because of his lack of diplomacy and diffidence. While awaiting a chance to secure full-time employment, he tried to met expenses by composing music and giving music lessons, including for the elector's second family by his deceased mistress. He used his Piano Concert No. 8 in C Major, K. 246, in teaching his students. Music performed during the documentary includes portions of The Flute Quartet No. 1 in D major, K. 285, by Hana Huberná (flute) and members of the Talich Quartet and Piano Concert No. 8 in C Major, K. 246, by Christian Zacharias and the Stuttgart Radio Symphony Orchestra conducted by Gianluigi Gelmetti. - CONCERT SEGMENT: Piano Concert No. 8 in C Major K. 246, performed by Christian Zacharias with the Stuttgart Radio Symphony Orchestra, conducted by Gianluigi Gelmetti, recorded in the Rokokotheater ("Rococo Theater") at Schwetzingen Palace in Schwetzingen, Germany, where Charles Theodore’s court spent a great deal of time during Mozart′s stay. Episode 6: https://rumble.com/v4nhw49-mozart-on-tour-paris-far-from-salzburg-episode-6.html

- DOCUMENTARY SEGMENT: During the Mozart family′s tour of Italy, they visited Milan and Bologna in 1770, where Mozart wrote his opera Mitridate, re di Ponto, first performed in Milan in December 1770. At Bologna, Leopold Mozart arranged with Padre Giovanni Battista Martini, an instructor at the city′s renowned Accademia Filarmonica di Bologna ("Philharmonic Academy of Bologna") – which has educated many of the greatest composers and musicians from Italy and elsewhere – for Wolfgang to take the entrance examination. Wolfgang was too young to attend the academy, but Leopold thought that the examination would be a good vehicle for him to demonstrate his talent. Wolfgang completed the examination in a remarkable 30 minutes and passed, although Martini bent the rules of the examination and "corrected" the leading voice Mozart had written to conform to more established compositional norms. Music performed during the documentary includes portions of Divertimento No. 1 in E-flat major, K. 113, by the Chamber Ensemble of the National Theater, Prague, and Aria, K. 73, by Hana Zachatová and the Chamber Ensemble of the National Theater, Prague. - CONCERT SEGMENT: Piano Concerto No. 5 in D major, K. 175, performed by the Orchestra della Radiotelevisione della Svizzera Italiana ("Radio and Television Orchestra of Italian Switzerland") conducted by Marc Andreae with soloist Malcolm Frager, recorded in the Teatro Scientifico del Bibiena in Mantua, Italy. The piece is Mozart′s first fully original piano concerto. Episode 4: https://rumble.com/v4n87jr-mozart-on-tour-mannheim-aloysia-and-constanze-episode-4.html

- DOCUMENTARY SEGMENT: Mozart arrived in Mannheim in 1777 to seek a position in the court of the Elector of Bavaria Charles IV Theodore (1724–1799). He spent a year there, encountering the Mannheim school of composers and orchestral techniques, and the school had a major influence on his future compositions. In Mannheim, he met the music copyist Franz Fridolin Weber (1691–1754) and his four daughters. Mozart fell in love with Weber′s second-oldest child, the soprano Aloysia Weber (c. 1760–1839). Weber′s oldest child, the soprano Josepha Weber (1758–1819), later created the role of the Queen of the Night in Mozart′s 1791 opera The Magic Flute. Weber′s third child, soprano Constanze Weber (1762–1842), later became Mozart's wife. Mozart also met the conductor of the Mannheim orchestra, Christian Cannabich (c. 1731–1798), who greatly impressed him, and he composed for Cannabich′s daughter Rose. Music performed during the documentary includes portions of Sonata No. 22 for Violin and Piano, K. 293d, by Jitka Nováková (violin) and František Kúda (piano) and Symphony No. 31 in D Major "Paris", K. 297, by the Mozarteum Orchestra Salzburg conducted by Jeffrey Tate. - CONCERT SEGMENT: Piano Concerto No. 6 in B Major, K. 238, performed by Christian Zacharias with the Stuttgart Radio Symphony Orchestra, conducted by Gianluigi Gelmetti, recorded in the Rokokotheater ("Rococo Theater") at Schwetzingen Palace in Schwetzingen, Germany, where Charles Theodore’s court spent a great deal of time during Mozart′s stay in Mannheim. Episode 5: https://rumble.com/v4n8cc0-mozart-on-tour-schwetzingen-musicians-and-princess-episode-5.html

A 1991 Documentary series hosted by Andre Previn and Michael Kitchen as reader of Mozart′s letters. Wolfgang Amadeus Mozart spent a third of his life travelling, and the 13-part 'Mozart on Tour' series focuses on these journeys and their influence on his life and work, highlighting a piano concerto that demonstrates his musical development at the time of each trip. Mozart on Tour was produced to coincide with the 1991 bicentennial of Mozart′s death. Each episode is centred on a different European city and combines travelogue-style narration with musical excerpts and period re-enactment. Conductor and composer Andre Previn provides the historical and musical background, and actor Michael Kitchen reads from the many letters that Mozart wrote home while on his travels. Each episode includes a full performance of one of Mozart's twenty-seven piano concertos played by an internationally renowned soloist, orchestra and conductor. The performances take place in appropriately historical settings. Episode 1 - DOCUMENTARY SEGMENT: During his childhood, Mozart and his family visited London from April 1764 to July 1765. It was a happy and successful visit in which the court of King George III idolized him and his family and Mozart met and associated with some of the most important musicians of the time. Among them were Johann Christian Bach (1735–1782) and Karl Friedrich Abel (1723–1787), both of whom had spent a significant amount of time in Italy and were influenced by musical developments there. The Mozart family also became friendly with Giovanni Manzuoli (1720–1782), an Italian vocalist residing and performing in London at the time, and became familiar with his style of virtuoso singing. Bach, Abel, and Manzuoli gave Mozart first-hand exposure to the Italian musical style that would influence him for the rest of his life, the Italian school of musical composition, and the pianoforte, a fairly new instrument at the time. These experiences inspired Mozart's style, which culminated in works like 1782′s Piano Concerto No. 12 in A Major. - CONCERT SEGMENT: Piano Concerto No.12 in A Major, performed by the Royal Philharmonic Orchestra with soloist and conductor Vladimir Ashkenazy. Recorded in the Great Hall of Lancaster House at Hampton Court Palace, London. Episode 2: https://rumble.com/v4n7glc-mozart-on-tour-mantua-initial-steps-episode-2.html

- DOCUMENTARY SEGMENT: In December 1769,Leopold Mozart (1719–1787) set out with his son Wolfgang on a journey to Italy, the center of European musical culture at the time, to further Wolfgang′s musical development and his fame as a performer. In early 1770, they visited first Verona and then Mantua, and in both cities Wolfgang′s performances drew large and enthusiastic crowds. Wolfgang composed his first string quartet, String Quartet No. 1 in G major, K. 80/73f, during this journey. By this time, Wolfgang, with help from Leopold, already had begun to compose and perform early piano concerti – pasticcio arrangements for piano and orchestra based on piano sonatas by other composers. Music performed during the documentary includes a portion of Piano Concerto No. 1 in F Major, K. 37 performed by the Orchestra della Radiotelevisione della Svizzera Italiana ("Radio and Television Orchestra of Italian Switzerland") conducted by Marc Andreae with soloist Heidrun Holtmann. - CONCERT SEGMENT: Piano Concerto No. 1 in F Major, K. 37 and Piano Concerto No. 4 in G major, K. 41, performed by the Orchestra della Radiotelevisione della Svizzera Italiana ("Radio and Television Orchestra of Italian Switzerland") conducted by Marc Andreae with soloist Heidrun Holtmann, recorded in the Teatro Scientifico del Bibiena ("Bibiena Scientific Theater") in Mantua, Italy, in 1989. Episode 3: https://rumble.com/v4n7vaw-mozart-on-tour-milan-learning-by-travelling-episode-3.html

A 2015 Arts Documentary hosted by Rick Wakeman. Antonio Vivaldi’s the Four Seasons is the most popular piece of classical music of all time. There have been over 1000 different recordings , selling tens of millions of copies. It’s become so ubiquitous – in lifts, as phone ring tones or on call-centre answering machines – that it has been denounced as Muzak for the middle classes.

A 1987 Trilion Pictures production presents George Frederick Handel's "Water Music" from The Banqueting House - Whitehall London. Musicians and dancers perform at the Banqueting House in Whitehall, London in authentic Baroque costume and with period surroundings. English Bach Festival Dancers Choreography by Belinda Quirey Costumes (from original designs) by Derek West The English Bach Festival Orchestra Conducted by and Solo Violinist: Christopher Hirons Director: Derek Hanlon The Water Music (German: Wassermusik) is a collection of orchestral movements, often published as three suites, composed by George Frideric Handel. It premiered on 17 July 1717, in response to King George I's request for a concert on the River Thames. The Water Music opens with a French overture and includes minuets, bourrées, and hornpipes. It is divided into three suites About the Baroque Dance: When we think of "baroque dance", we often think of enormous wigs and frilly dresses, a rond de jambe and graceful entrechats. This is of course true, to a certain extent: as the Belle Danse developed during the 17th century, it was a dance reserved for the nobility and gentlemen, wearing their finest clothes. However, under the reign of Louis XIV, the baroque dance was not only a source of entertainment or a simple pass-time. Quite the contrary, it was a veritable art-form, with a social and political impact. In 17th century France, dance was an integral part of a gentleman's education. The nobility learned to read and to write, to handle weapons, and to dance. But what did baroque dance actually look like? "This dance is built upon the premise that if you can walk, you can dance", explains choreographer Béatrice Massin, advisor to director Gérard Corbiau for the film Le Roi Danse (2000). "Everything is built from very simple elements since the ball dances were necessarily accessible to all, nobody was a professional at this time. The baroque body was a round one, fully capable of taking advantage of the space. A body that takes pleasure both in volume but also in height. On every strong beat, for example, the body rises. There is a particular way of using the arms since the shoulders were not free when wearing court costumes. In the baroque dance, the ports de bras (name of a general arm movement in dance and ballet) thus remains oriented towards the pelvis and the lower part of the body, whilst the bust stretches upward, as if to assert grandeur and ease. As for the steps, the premises of classical dance with entrechats, chassés, and pas de bourrée... All variants that were built from a walking step."

A 2009 Arts Documentary narrated by Samuel West. Audio in English with subtitles for the Italian parts. The extraordinary story of one of world's great, lost masterpieces: Caravaggio's "The Taking of Christ". This film traces the painting's journey from its birth in Rome in 1602 to its amazing re-discovery in 1990. "The Taking of Christ" by Italian Baroque master Caravaggio today holds pride of place in the National Gallery of Ireland in Dublin. Its subject is the arrest of Jesus, the moment when the son of God, is betrayed with a kiss - the Judas kiss. 400 years ago the painting was one of the most costly and celebrated artworks of its time, but in a confusion of discarded fashions and lost fortunes, it vanished. Its rediscovery is one of the most extraordinary detective stories in the history of art, traversing time, countries, war, social upheaval and family fortunes.

Russian Ark (Russian: Russkij Kovcheg) is a 2002 German-Russian co-production experimental historical drama film directed by Alexander Sokurov. Audio in Russian with English subtitles. In Russian Ark, an unnamed narrator wanders through the Winter Palace in Saint Petersburg, and implies that he died in some horrible accident and is a ghost drifting through the palace. In each room, he encounters various real and fictional people from various periods in the city's 300-year history. He is accompanied by "the European", who represents the Marquis de Custine, a 19th-century French traveler. A grand ball follows, featuring music by Mikhail Glinka, with many of the participants in spectacular period costume, and a full orchestra conducted by Valery Gergiev, then a long final exit with a crowd down the grand staircase. The film was recorded entirely in the Winter Palace of the Russian State Hermitage Museum on 23 December 2001 using a one-take single 96-minute Steadicam sequence shot. Russian Ark uses the fourth wall device extensively, but repeatedly broken and re-erected. At times the narrator and the companion interact with the other performers, whilst at other times they pass unnoticed. The film displays 33 rooms of the museum, which are filled with a cast of over 2,000 actors and three orchestras. Cast & Characters: Alexander Sokurov as Narrator Sergei Dontsov (Sergey Dreyden) as the European (Marquis de Custine) Mariya Kuznetsova as Catherine the Great Marksim Sergeyev as Peter the Great Anna Aleksakhina as Alexandra Feodorovna Vladimir Baranov as Nicholas II

The second episode focuses on Verdi, whose operas are central to Pappano's conducting repertoire and the backbone of the international opera scene. It shows how Verdi's music was influenced by composers such as Bellini and particularly Donizetti, whose gothic masterpiece Lucia di Lammermoor is explored with the help of soprano Diana Damrau. Pappano looks at six of Verdi's most famous works - Nabucco, Rigoletto, Don Carlo, Otello, Falstaff and La Traviata, the last of which Pappano rehearses and conducts at the Royal Opera House with the starry cast of Renee Fleming, Joseph Calleja and Thomas Hampson. Pappano travels to Le Roncole in northern Italy where Verdi was born amidst a turbulent political environment, and politics became a major influence on Verdi's operas in later life. He conducts Va Pensiero from Nabucco at a vast open-air concert in Naples, a chorus which was to become a powerful symbol of political unity for the Italian people. Episode 3: https://rumble.com/v4m6uo5-opera-italia-the-triumph-of-puccini-episode-3.html

The final episode is devoted to Puccini, the worthy successor to Verdi. Puccini's operas are cinematic in their scale with ravishing, passionate and clever music, as he took Italian opera into the 20th century. Pappano looks at five of Puccini's most popular operas - La Boheme, Tosca, Madame Butterfly, Gianni Schicchi and Turandot. He travels to Rome to meet stage director Franco Zeffirelli and talk about Puccini and Zeffirelli's famous production of Turandot. Pappano also talks to one of the great Puccini interpreters, the soprano Renata Scotto, about the composer, Madame Butterfly and the role of Mimi in La Boheme. Also featured are soprano Angela Gheorghiu, tenors Jonas Kaufmann and Roberto Alagna and baritone Sir Thomas Allen.

A 2010 Arts Documentary hosted by Antonio Pappano. Audio in English with English subtitles (Click on CC). Three-part series tracing the history of Italian opera presented by Antonio Pappano, world-renowned conductor and music director at the Royal Opera House, Covent Garden. The series features sumptuous music, stunning Italian locations and some of the biggest names in opera as contributors. In the first programme, Pappano takes a whistle-stop tour of the beginnings of opera, from Monteverdi to Rossini. He also looks at the works of two non-Italian composers, Handel and Mozart, both of whom were pivotal in the development of the art form. Along the way he enlists the help of some of the world's greatest singers - Juan Diego Florez, Joyce DiDonato, Danielle de Niese, Sarah Connolly and Pietro Spagnoli. Episode 2: https://rumble.com/v4m6i88-opera-italia-viva-verdi-episode-2.html

Otello is a 1986 film based on the Giuseppe Verdi opera of the same name, which was itself based on the Shakespearean play Othello. Audio in Italian with English and Italian subtitles (click on CC for subtitles). The film was directed by Franco Zeffirelli and starred Plácido Domingo in the title role, Katia Ricciarelli as Desdemona and Justino Díaz as Iago. For the film's soundtrack, Lorin Maazel conducted the Orchestra and Chorus of the Teatro alla Scala. The film was nominated for a Bafta Award and a Golden Globe for Best Foreign Language Film. In the same category, it was also nominated for a Golden Globe. The film was also entered into the 1986 Cannes Film Festival. With only a few exceptions, the film follows the same plot as the opera. Iago plots and brings about Otello's downfall by convincing him that his wife Desdemona is engaged in an affair with the young lieutenant Cassio, provoking Otello to murder her in a blind rage. However, in a major change from the opera, Otello kills Iago at the end by throwing a spear at him, while in the stage version he only wounds him with his sword. Cast & Characters: Plácido Domingo as Otello Katia Ricciarelli as Desdemona Justino Díaz as Iago Petra Malakova as Emilia Urbano Barberini as Cassio Massimo Foschi as Lodovico Edwin Francis as Montano Sergio Nicolai as Roderigo Remo Remotti as Brabantio Antonio Pierfederici as Doge For the most part, the film follows the original score of the opera with several noticeable exceptions. The entire "Willow Song" ("Salce, salce"), Desdemona's solo aria, which is largely considered one of the most beautiful moments in the work, is omitted. However, her "Ave Maria", which follows immediately, is retained in the film. There are, at various points, smaller additional cuts in the music, such as the moment at the end of the storm scene when the chorus is cut short and the film skips to the recitativo between Iago and Roderigo. This contrasts with stage productions of Otello, where the opera is rarely cut. There are also two additions: the extra music from the rarely performed third act ballet (written for the opera's Paris premiere) is inserted into the festivities of the first and third acts in the film. In some scenes, Zeffirelli was able to use the medium of film to show aspects of his interpretation that could not be done onstage. In the movie, when Iago is informing Otello about Cassio's supposed dream in which he apparently said to Desdemona, "Let us hide our loves", we see Cassio singing the words, not Iago, as in the original stage version. Here Zeffirelli is showing the audience the image of Iago's fabricated dream as Otello is imagining it. Another of Zeffirelli's interpretive decisions was to show, complete with screams and sound effects, a flashback of marauding soldiers attacking an African village and snatching Otello (as a baby) from his mother, while the adult Otello and Desdemona sing their Act I love duet.

A 1978 TV programme narrated by Tim Benton. A guided tour through three Italian villas designed by Renaissance architect Andrea Palladio. Andrea Palladio (November 30, 1508 – August 19, 1580) was an Italian architect. He was born in Padua and died at Maser, near Treviso. Palladio, influenced by Roman and Greek architecture, primarily Vitruvius, is widely considered to be one of the most influential individuals in the history of architecture. While he designed churches and palaces, he was best known for country houses and villas. His teachings, summarized in the architectural treatise, The Four Books of Architecture, gained him wide recognition. Palladio is known as one of the most influential architects in Western architecture. His architectural works have "been valued for centuries as the quintessence of High Renaissance calm and harmony". The city of Vicenza, with its 23 buildings designed by Palladio, and 24 Palladian villas of the Veneto are listed by UNESCO as part of a World Heritage Site named City of Vicenza and the Palladian Villas of the Veneto. The churches of Palladio are to be found within the "Venice and its Lagoon" UNESCO World Heritage Site.

A 1980 Documentary written and directed by James S. Ackerman. The influence of Palladio also reached to the United States, where the architecture and symbols of the Roman Republic were adapted for the architecture and institutions of the newly independent nation. The grand buildings of Washington, D.C. would look quite different were it not for the work of a Renaissance architect and his influence on Thomas Jefferson The Massachusetts governor and architect Thomas Dawes also admired the style, and used it when rebuilding Harvard Hall at Harvard University in 1766. Palladio's villas inspired Monticello, the residence of the third U.S. President, Thomas Jefferson, himself an architect. Jefferson organized a competition for the first United States Capitol building. It was won by William Thornton with a design inspired in part by Palladio and La Rotonda. The One Hundred Eleventh Congress of the United States of America called him the "Father of American Architecture" (Congressional Resolution no. 259 of 6 December 2010). His influence can also be seen in American plantation buildings.

Opera Title: Le nozze di Figaro Composer: Wolfgang Amadeus Mozart Librettist: Lorenzo da Ponte Premiere: 1 May 1786, Vienna (Burgtheater) Language: Italian Translation(s): English & Italian subtitles (Click on CC) Synopsis: https://www.opera-arias.com/mozart/le-nozze-di-figaro/synopsis/ Le nozze di Figaro Act III-IV: https://rumble.com/v4l82nf-mozart-le-nozze-di-figaro-act-iii-iv-freni-te-kenawa-prey-fischer-dieskau-b.html Le nozze di Figaro (English: The Marriage of Figaro), K. 492, is an opera buffa (comic opera) in four acts composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte. It premiered at the Burgtheater in Vienna on 1 May 1786. The opera's libretto is based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro ("The Mad Day, or The Marriage of Figaro"), which was first performed in 1784. It tells how the servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering employer Count Almaviva to seduce Susanna and teaching him a lesson in fidelity. The opera is a cornerstone of the repertoire and appears consistently among the top ten in the Operabase list of most frequently performed operas. Cast & Crew: Hermann Prey as Figaro Mirella Freni as Sussana Dietrich Fischer-Dieskau as Il Conte di Almaviva Kiri Te Kanawa as La Contessa di Almaviva Maria Ewing as Cherubino Paolo Montarsolo as Bartolo Heather Begg as Marcellina John van Kesteren as Basilio Hans Kraemmer as Antonio Janet Perry as Barbarina Willy Caron as Don Curzio Wiener Philharmoniker Conductor: Karl Böhm Director: Jean-Pierre Ponnelle Producer: Fritz Buttenstedt Cinematography: Ernst Wild Costume Design: Jean-Pierre Ponnelle

ACT III Figaro stalls Marcellina by telling her that he is of noble birth and cannot marry without his parents' consent. He reveals a birthmark on his arm, whereupon Marcellina realizes that she and Bartolo have found their long-lost son. They embrace just as Susanne enters. She is furious, but once the situation is explained she joins in the celebration. After the countess has dictated the note that Susanna is to pass to the Count, a double wedding is prepared - Susanna and Figaro being joined by Marcellina and Bartolo. ACT IV Figaro encounters Barbarina, the gardener's daughter, who inadvertently reveals that Susanna has received a message from the count. Figaro assumes the worst, and decides to catch his errant wife when she arrives for her tryst in the garden. The countess and Susanna appear in each other's clothes (Susanne has now taken Cherubino's place in the subterfuge) and much mistaken identity ensues in the darkness (Cherubino is there to meet Barbarina too). Eventually Figaro realizes his wife is faithful and the count realizes he has been tricked. He begs for his wife's forgiveness, and receives it.

Claudio Abbado at the Accademia Nazionale di Santa Cecilia, Rome (2001) with the Berlin Philharmonic, and hosted by Wulf Konold who analyzes the composer Ludwig van Beethoven's most famous works. Audio in English, with subtitles for the German parts. The first four momentous notes of Ludwig van Beethoven's Fifth Symphony are perhaps the most instantly recognized in all of Western classical music. 'Thus Fate knocks at the door!' announced the composer- at least, according to the apocryphal story. Since then the symphony, from the dramutic opening bars to the blazing C major finale, has come to symbohize Beethoven at his most gloriously heroic. The influential critic and theorist A.B. Marx (1795-1866) even went so far as to proclaim that the work embodied 'the decisive fate of all mankind'. Yet the symphony itself is altogether more complex und enigmatic than such declarations suggest. Following the premiere of the Fifth, Beethoven's reputation as a composer continued to flourish. Even the encroaching deafness that would, by 1814, become virtually absolute could not dampen his genius. In defiance of his hearing loss, he went on to produce such masterpieces as the choral Ninth Symphony, the Missa Solemnis and the late quartets - music of extraordinary beauty, grace und visceral power. He was soon firmly established as one of the most famous and revered musical figures of the age, and became almost an object of pilgrimage for aspiring young composers. The conversation books, which due to his deafness were his primary means of communication, record many of these encounters. In late 1826 Beethoven fell seriously ill, and, on 26 Murch of the following year, he died. Such was his renown that more than 20,000 people came to pay tribute to him at his funerul three days later, including Franz Schubert, who was one of the torchbearers.

With the Berlin Philharmonic Orchestra conducted by Claudio Abbado at the Philarmonie, Berlin (2005) and hosted by Wulf Konold who analyzes the composer Ludwig van Beethoven's most famous works. The 'Ode to Joy', which crowns the finale of Beethoven's iconic 'Choral' Symphony, is set to one of the most memorable melodies in the entire symphonic repertoire. 'Freude, schöner Götterfunken, Tochter aus Elysium' ('Joy, beautiful spark of God, Daughter of Elysium') - the opening lines of Friedrich Schiller's (1759-1805) ecstatic poem - seem almost inseparable from Beethoven's jubilant theme. Grand, wonderful and mysterious, the Ninth Symphony has perplexed and delighted its listeners since its premiere in 1824. Described by one critic as 'the most wonderful musical revelation that could be desired, or that is ever likely to be devised', and by another as 'a monstrosity', it continues to overwhelm us today. With this symphony he evolves from the mysterious, indefinite opening of the first movement - with its avoidance of a clear tonal centre -through the middle movements, in which a few anticipatory inklings of the 'Ode to Joy' theme appear - to the celebratory finale, in which the full theme emerges in all its splendour. Episode 4: https://rumble.com/v4k3iy0-masters-of-classical-music-discovering-haydns-symphony-no.94-surprise-episo.html

At St. Irene Church, Istanbul (2001) with the Berlin Philharmonic Orchestra conducted by Mariss Jansons and hosted by Robert Levin who analyzes the composer Joseph Haydn's most famous works. Famous for the sudden fortissimo chord in the middle of its second movement— the 'surprise' of the title - Haydn's Symphony No. 94 is one of his most beloved masterpieces. Various theories have been advanced to account for this unusual interruption. The apocryphal story goes that Haydn simply wanted to wake up his drowsy audience, but the composer him self gave a different explanation, indicating that professional rivalry may have been at the heart of the matter: I was interested in surprising the public with something new, and in making a brilliant debut, so that my student Pleyel, who was at that time engaged by an orchestra in London and whose concerts had opened a week before mine, should not outdo me.' The composer was affectionately known by his colleagues as 'Papa Haydn', and contemporaries often wrote about his good sense of humour. Haydn was a master of misdirection, guiding us through each playful eccentricity as it occurs. This episode explores each 'artificially embarrassing moment' - where the composer deliberately pretends to make clumsy mistakes - in turn, discussing the music in terms of harmony, form, textural contrast, phrase-length and overall mood. Haydn wants to 'play poker with the London public' by continually surprising them. The documentary compares Haydn to Mozart, both musically and in terms of character, and puts both in the historical context of the Enlightenment - in which music was broadly conceived as a civilising influence - und the emerging middle class. It frames Haydn as 'the father of the symphony', discussing his profound influence on future generations of composers. Episode 5: https://rumble.com/v4k3nuq-masters-of-classical-music-discovering-beethovens-symphony-no.-5-episode-5.html

Konzerthaus, Berlin (2005) with the Carl Philipp Emanuel Bach Chamber Orchestra conducted and hosted by Hartmut Haenchen who analyzes the composer Wolfgang Amadeus Mozart's most famous works. Audio in English, with subtitles in English for the German parts. Mozart completed his Symphony No. 41 in C major, K. 551, on 10 August 1788. The longest and last symphony that he composed, it is regarded by many critics as among the greatest symphonies in classical music. The work is nicknamed the Jupiter Symphony, probably coined by the impresario Johann Peter Salomon. The autograph manuscript of the symphony is preserved in the Berlin State Library. The symphony is scored for Flute, 2 Oboes, 2 Bassoons, 2 Horns in C and F, 2 Trumpets in C, Timpani in C and G, First and Second Violins, Violas, Cellos and Double Basses. Symphony No. 41 is the last of a set of three that Mozart composed in rapid succession during the summer of 1788. No. 39 was completed on 26 June and No. 40 on 25 July. Nikolaus Harnoncourt argues that Mozart composed the three symphonies as a unified work, pointing, among other things, to the fact that the Symphony No. 41, as the final work, has no introduction (unlike No. 39) but has a grand finale. in the summer of 1788 Mozart completed his last three symphonies in E-flat major, G minor and C major, the last of them lated described as his "Jupiter" Symphony. Mozart bequeathed to an astonished posterity music of altogether otherworldly perfection, music which, dismayingly beautiful , is "not of this world". The Swiss theologian Karl Barth even susggested that the angels probably play Bach whenever they want to praise God but that among themselves and for their own pleasure they doubt play Mozart. Even though Mozart's life and works are uncommonly well documented, not least in the form of countless letters that attest to the composer's verbal wit and unconventional thinking, as a person and as a historical figure he reimains and insoluble riddle, and inexplicable phenomenon. "it often seems as if Mozart lived and loved and suffered with an all-consuming intensity," wrote Hermann Hesse, "and then again one has the impression that he did not live at all and that each provocation and appeal of reality immediately and without further ado became music in this blessed spirit. Episode 3: https://rumble.com/v4k3dji-masters-of-classical-music-discovering-beethovens-symphony-no.-9-episode-3.html

6 Brandenburgische Konzerte. Münchener Bach-Orchester, conducted by Karl Richter. Directed by Arne Arnbom in 1970 1. J.S. Bach: Brandenburg Concerto No. 1 in F, BWV 1046 - 1. (Allegro) Hansheinz Schneeberger & Manfred Clement & Hermann Baumann & Werner Meyendorf & Karl Kolbinger & Hedwig Bilgram & Münchener Bach-Orchester & Karl Richter 2. J.S. Bach: Brandenburg Concerto No. 1 in F, BWV 1046 - 2. Adagio Hansheinz Schneeberger & Manfred Clement & Hermann Baumann & Werner Meyendorf & Karl Kolbinger & Hedwig Bilgram & Münchener Bach-Orchester & Karl Richter 3. J.S. Bach: Brandenburg Concerto No. 1 in F, BWV 1046 - 3. Allegro Hansheinz Schneeberger & Manfred Clement & Hermann Baumann & Werner Meyendorf & Karl Kolbinger & Hedwig Bilgram & Münchener Bach-Orchester & Karl Richter 4. J.S. Bach: Brandenburg Concerto No. 1 in F, BWV 1046 - 4. Menuet - Trio - Polonaise Hansheinz Schneeberger & Manfred Clement & Hermann Baumann & Werner Meyendorf & Karl Kolbinger & Hedwig Bilgram & Münchener Bach-Orchester & Karl Richter 5. J.S. Bach: Brandenburg Concerto No. 2 in F, BWV 1047 - 1. (Allegro) Hansheinz Schneeberger & Hans-Martin Linde & Manfred Clement & Pierre Thibaud & Hedwig Bilgram & Münchener Bach-Orchester & Karl Richter 6. J.S. Bach: Brandenburg Concerto No. 2 in F, BWV 1047 - 2. Andante Hansheinz Schneeberger & Hans-Martin Linde & Manfred Clement & Pierre Thibaud & Hedwig Bilgram & Münchener Bach-Orchester & Karl Richter 7. J.S. Bach: Brandenburg Concerto No. 2 in F, BWV 1047 - 3. Allegro assai Hansheinz Schneeberger & Hans-Martin Linde & Manfred Clement & Pierre Thibaud & Hedwig Bilgram & Münchener Bach-Orchester & Karl Richter 8. J.S. Bach: Brandenburg Concerto No. 3 in G, BWV 1048 - 1. (Allegro) Hedwig Bilgram & Münchener Bach-Orchester & Karl Richter 9. J.S. Bach: Brandenburg Concerto No. 3 in G, BWV 1048 - 2. Adagio (BWV 1019a) Hedwig Bilgram & Münchener Bach-Orchester & Karl Richter 10. J.S. Bach: Brandenburg Concerto No. 3 in G, BWV 1048 - 3. Allegro Hedwig Bilgram & Münchener Bach-Orchester & Karl Richter 11. J.S. Bach: Brandenburg Concerto No. 4 in G, BWV 1049 - 1. Allegro Hansheinz Schneeberger & Hans-Martin Linde & Günter Höller & Hedwig Bilgram & Münchener Bach-Orchester & Karl Richter 12. J.S. Bach: Brandenburg Concerto No. 4 in G, BWV 1049 - 2. Andante Hansheinz Schneeberger & Hans-Martin Linde & Günter Höller & Hedwig Bilgram & Münchener Bach-Orchester & Karl Richter 13. J.S. Bach: Brandenburg Concerto No. 4 in G, BWV 1049 - 3. Presto Hansheinz Schneeberger & Hans-Martin Linde & Günter Höller & Hedwig Bilgram & Münchener Bach-Orchester & Karl Richter 14. J.S. Bach: Brandenburg Concerto No. 5 in D, BWV 1050 - 1. Allegro Hansheinz Schneeberger & Aurèle Nicolet & Karl Richter & Münchener Bach-Orchester 15. J.S. Bach: Brandenburg Concerto No. 5 in D, BWV 1050 - 2. Affetuoso Hansheinz Schneeberger & Aurèle Nicolet & Karl Richter & Münchener Bach-Orchester 16. J.S. Bach: Brandenburg Concerto No. 5 in D, BWV 1050 - 3. Allegro Hansheinz Schneeberger & Aurèle Nicolet & Karl Richter & Münchener Bach-Orchester 17. J.S. Bach: Brandenburg Concerto No. 6 in B flat, BWV 1051 - 1. Allegro moderato Kurt-Christian Stier & Ingo Sinnhoffer & Oswald Uhl & Johannes Fink & Fritz Kiskalt & Herbert Duft & Karl Richter & Münchener Bach-Orchester 18. J.S. Bach: Brandenburg Concerto No. 6 in B flat, BWV 1051 - 2. Adagio ma non tanto Kurt-Christian Stier & Ingo Sinnhoffer & Oswald Uhl & Johannes Fink & Fritz Kiskalt & Herbert Duft & Karl Richter & Münchener Bach-Orchester 19. J.S. Bach: Brandenburg Concerto No. 6 in B flat, BWV 1051 - 3. Allegro Kurt-Christian Stier & Ingo Sinnhoffer & Oswald Uhl & Johannes Fink & Fritz Kiskalt & Herbert Duft & Münchener Bach-Orchester & Karl Richter 20. J.S. Bach: Concerto For Harpsichord, Strings, And Continuo No. 4 In A, BWV 1055 - Arranged/Reconstructed For Oboe d'amore & Strings By C. Hogwood - I. (Allegro moderato) Manfred Clement & Münchener Bach-Orchester & Karl Richter 21. J.S. Bach: Concerto For Harpsichord, Strings, And Continuo No. 4 In A, BWV 1055 - Arranged/Reconstructed For Oboe d'amore & Strings By C. Hogwood - II. Larghetto Manfred Clement & Münchener Bach-Orchester & Karl Richter 22. J.S. Bach: Concerto For Harpsichord, Strings, And Continuo No. 4 In A, BWV 1055 - Arranged/Reconstructed For Oboe d'amore & Strings By C. Hogwood - III. Allegro ma non tanto Manfred Clement & Münchener Bach-Orchester & Karl Richter 23. J.S. Bach: Concerto for Violin, Oboe, and Strings in D minor, BWV 1060 - I. Allegro Otto Buechner & Edgar Shann & Münchener Bach-Orchester & Karl Richter 24. J.S. Bach: Concerto for Violin, Oboe, and Strings in D minor, BWV 1060 - II. Adagio Otto Buechner & Edgar Shann & Münchener Bach-Orchester & Karl Richter 25. J.S. Bach: Concerto for Violin, Oboe, and Strings in D minor, BWV 1060 - III. Allegro Otto Buechner & Edgar Shann & Münchener Bach-Orchester & Karl Richter

A 2015 EuroArts Classical music documentary series. Do you know why there was a wild brawl at the premiere of Stravinsky's "Sacre du printemps"? Why did Schubert never intend to finish his famous Unfinished Symphony in h-Minor. What is the fate behind Beethoven's "Symphony of Fate"? And what surprise did Haydn have in mind with his symphony of the same name? Expect to be enlightened with these and many other exciting answers to intriguing questions about some of the most famous works of classical music by the documentary series "Masters of Classical Music". Each of the episodes offers an instructive introduction to the origins of each work and its musical structure. In 27 minutes, the viewer is guided through the pieces with prominent interpreters, conductors and musicologists providing expert insights into each work. Episode 1: J.S. Bach: Brandenburg Concertos (1721) Freiburger Barockorchester / Gottfried von der Goltz Host: Robert Levin The six Brandenburg Concertos by Johann Sebastian Bach rank among the undisputed favorites of all baroque fans. They have become a firm fixture in music education and an integral part of our international musical heritage. So what’s their secret? The internationally acclaimed pianist and Bach expert Robert Levin provide an answer. Bach: Brandenburg Concertos No.1-6: https://rumble.com/v4jyb5f-j.s.-bach-brandenburg-concertos-no.1-6-mnchener-bach-orchester-conducted-by.html Episode 2: https://rumble.com/v4jyj66-masters-of-classical-music-discovering-mozarts-symphony-no.41-jupiter-episo.html

Un film documentario del 2019 diretto da Enrico Cerasuolo. Un racconto senza filtri e con materiali inediti di una delle più grandi attrici italiane. Le immagini dell'archivio personale, insieme a quelle della Rai e dell'Istituto Luce, rivelano il vero volto di Anna Magnani: il suo carattere vulcanico, le passioni, gli scontri, l'anima rivoluzionaria. Dopo di lei il cinema ha smesso di cercare la bellezza stereotipata, scoprendo il carattere interiore e misterioso di un'attrice che ha cambiato lo sguardo delle donne e sulle donne.

A 2014 Doc Short Written and directed by Marco Spagnoli for "Donne nel Mito" (“Women in Myth”) series, narrated by Olivia Magnani. Audio in Italian with English subtitles. The years in Hollywood of the first Italian actress to win the Oscar e the story of her great friendship with the playwright Tennessee Williams. With the participation of; Caterina D’Amico, Matilde HochKofler, Enrico Lucherini, Luca Magnani. Anna Magnani, the diva best known in America as an emblem of the great Italian cinema and of the years of Hollywood on the Tiber and the Dolce Vita. The only one who won the Oscar for a film interpreted in English and to have won a second nomination for the most coveted film award in the world for another film also recited not in her native language. Women in the Myth: Anna Magnani in Hollywood recounts the American period of the great actress through the words of his son Luca, of the most important Italian press agent Enrico Lucherini, of Anna Magnani's biographer, Matilde Hockhofler and of Caterina D'Amico, daughter of the legendary screenwriter Suso Cecchi D'Amico, great friend of Anna Magnani. The film produced for the “Women in Myth” series explores, for the first time, the relationship between Anna Magnani and her great friend Tennessee Williams, one of the main playwrights of the history of literature who wrote some of her most famous plays especially for her loved and who made Italy his retreat. Using unpublished material, found in the archives of Rai and the Istituto Luce, Donne nel Mito: Anna Magnani in Hollywood celebrates the story of a woman and a diva who anticipated the times of her and who was one of the great protagonists of culture, theater and cinema among the fifties and seventies. A well-rounded portrait that not only tells the story of Magnani through direct testimonies with anecdotes and reflections on her talent and her art, he also offers a story intimate and private of a mother who never thought of sacrificing her relationship with her son Luca and his Roma, in exchange for a great career in Hollywood. The documentary is enriched by the narrative voice of Olivia Magnani, also an actress and granddaughter of the great one diva.