![Miguel Fontes Meira](/img/default-banner.jpg)
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Miguel Fontes Meira
Бразилия
Добавлен 18 мар 2018
My goal is to contribute with the Classical Music Community on RUclips, that helped me so much towards growing as an amator music student for the past years. I select pieces for which I wish there was a music score video, then I do it myself! If you want me to make a video for any piece, just ask me (by commenting or by sending me an e-mail at miguelfmeira@usp.br).
Prokofiev: Ballet 'Romeo and Juliet', Op. 64 (Act 3) [Gergiev]
XXXVII. Introduction (0:00)
Scene 6:
XXXVIII. Romeo and Juliet (1:18)
XXXIX. Romeo Bids Juliet Farewell (2:40)
XL. The Nurse (7:44)
XLI. Juliet Refuses to Marry Paris (9:37)
XLII. Juliet Alone (12:01)
XLIII. Interlude (13:18)
Scene 7:
XLIV. At Friar Laurence's Cell (14:34)
XLV. Interlude (19:26)
Scene 8:
XLVI. Juliet's Room (21:04)
XLVII. Juliet Alone (24:02)
XLVIII. Aubade (29:02)
XLIX. Dance of the Girls with Lilies (31:43)
L. At Juliet's Bedside (34:03)
Conductor: Valery Gergiev
London Symphony Orchestra
Scene 6:
XXXVIII. Romeo and Juliet (1:18)
XXXIX. Romeo Bids Juliet Farewell (2:40)
XL. The Nurse (7:44)
XLI. Juliet Refuses to Marry Paris (9:37)
XLII. Juliet Alone (12:01)
XLIII. Interlude (13:18)
Scene 7:
XLIV. At Friar Laurence's Cell (14:34)
XLV. Interlude (19:26)
Scene 8:
XLVI. Juliet's Room (21:04)
XLVII. Juliet Alone (24:02)
XLVIII. Aubade (29:02)
XLIX. Dance of the Girls with Lilies (31:43)
L. At Juliet's Bedside (34:03)
Conductor: Valery Gergiev
London Symphony Orchestra
Просмотров: 28
Видео
Prokofiev: Ballet 'Romeo and Juliet', Op. 64 (Act 4: Epilogue) [Gergiev]
Просмотров 216 часов назад
Scene 9: LI. Juliet's Funeral (0:00) LII. Juliet's Death (5:45) Conductor: Valery Gergiev London Symphony Orchestra
Prokofiev: Ballet 'Romeo and Juliet', Op. 64 (Act 2) [Gergiev]
Просмотров 18222 часа назад
Scene 3: XXII. Folk Dance (0:00) XXIII. Romeo and Mercutio (3:08) XXIV. Dance of the Five Couples (4:58) XXV. Dance with Mandolins (8:55) XXVI. The Nurse (11:18) XXVII. The Nurse Gives Romeo the Note from Juliet (13:04) Scene 4: XXVIII. Romeo at Friar Laurence's (13:55) XXIX. Juliet at Friar Laurence's (16:54) Scene 5: XXX. The People Continue to Make Merry (20:00) XXXI. The Folk Dance Again (2...
Prokofiev: Ballet 'Romeo and Juliet', Op. 64 (Act 1) [Gergiev]
Просмотров 2662 часа назад
Scene 1: I. Introduction (0:00) II. Romeo (2:32) III. The Street Awakens (3:56) IV. The Morning Dance (6:12) V. The Quarrel (8:08) VI. The Fight (9:47) VII. The Duke's Command (12:24) VIII. Interlude (13:37) Scene 2: IX. Preparations for the Ball (Juliet and the Nurse) (15:31) X. The Young Juliet (17:36) XI. Arrival of the Guests (Minuet) (20:59) XII. Masques (Romeo, Mercutio and Benvolio Maske...
Haydn: Keyboard Sonata No. 32 in G minor, Hob.XVI:44 [Olbertz]
Просмотров 1,2 тыс.16 часов назад
I. Moderato (0:00) II. Allegretto (7:55) Piano: Walter Olbertz
Bach: Violin Sonata No. 1 in G minor, BWV 1001 (arr. for mandolin) [Thile]
Просмотров 33516 часов назад
I. Adagio (0:00) II. Fugue (3:55) III. Siciliano (8:07) IV. Presto (11:17) Mandolin: Chris Thile
Bach: Violin Partita No. 2 in D minor, BWV 1004 (arr. for mandolin) [Avital]
Просмотров 46816 часов назад
I. Allemande (0:00) II. Courante (4:51) III. Sarabande (7:40) IV. Gigue (11:30) V. Chaconne (16:17) Violin: Avi Avital
Bach: Violin Sonata No. 1 in G minor, BWV 1001 [Hadelich]
Просмотров 54519 часов назад
I. Adagio (0:00) II. Fugue (4:43) III. Siciliano (9:12) IV. Presto (12:35) Violin: Augustin Hadelich
Bach: Violin Partita No. 3 in E major, BWV 1006 [Hadelich]
Просмотров 80621 час назад
I. Preludio (0:00) II. Loure (3:16) III. Gavotte en Rondeau (7:50) IV. Menuet I (10:56) V. Menuet II (12:31) VI. Bourrée (14:47) VII. Gigue (16:04) Violin: Augustin Hadelich
Bach: Violin Partita No. 1 in B minor, BWV 1002 (arr. for mandolin) [Thile]
Просмотров 29921 час назад
I. Allemande (0:00) II. Double (5:15) III. Courante (10:10) IV. Double. Presto (13:04) V. Sarabande (15:58) VI. Double (18:40) VII. Tempo di Bourrée (21:18) VIII. Double (24:02) Mandolin: Chris Thile
Bach: Violin Partita No. 2 in D minor, BWV 1004 [Hadelich]
Просмотров 978День назад
I. Allemande (0:00) II. Courante (3:57) III. Sarabande (6:12) IV. Gigue (10:49) V. Chaconne (14:31) Violin: Augustin Hadelich
Haydn: Keyboard Sonata No. 32 in G minor, Hob.XVI:44 [Alpenheim]
Просмотров 5 тыс.День назад
I. Moderato (0:00) II. Allegretto (7:03) Piano: Ilse von Alpenheim
Suk: Serenade for Strings in E♭ major, Op. 6 [Hartung]
Просмотров 426День назад
I. Andante con moto (0:00) II. Allegro ma non troppo e grazioso (5:25) III. Adagio (10:47) IV. Allegro giocoso, ma non troppo presto (20:37) Conductor: Volker Hartung European New Philharmonic Orchestra
Bach: Violin Partita No. 1 in B minor, BWV 1002 [Hadelich]
Просмотров 547День назад
Bach: Violin Partita No. 1 in B minor, BWV 1002 [Hadelich]
Bach: Keyboard Partita No. 3 in A minor, BWV 827 [Gould]
Просмотров 3,6 тыс.День назад
Bach: Keyboard Partita No. 3 in A minor, BWV 827 [Gould]
Villa-Lobos: Caixinha de Música Quebrada, W256 [Rubinsky]
Просмотров 3,6 тыс.14 дней назад
Villa-Lobos: Caixinha de Música Quebrada, W256 [Rubinsky]
Schumann: Davidsbündlertänze, Op. 6 [Xiao-Mei]
Просмотров 1,4 тыс.14 дней назад
Schumann: Davidsbündlertänze, Op. 6 [Xiao-Mei]
Clara Schumann: Soirées Musicales, Op. 6 [Jochum]
Просмотров 71514 дней назад
Clara Schumann: Soirées Musicales, Op. 6 [Jochum]
Haydn: Keyboard Sonata No. 31 in A♭ major, Hob.XVI:46 [Olbertz]
Просмотров 2,8 тыс.14 дней назад
Haydn: Keyboard Sonata No. 31 in A♭ major, Hob.XVI:46 [Olbertz]
Mozart: Piano Concerto No. 19 in F major, K.459 [Uchida/Tate]
Просмотров 1,4 тыс.14 дней назад
Mozart: Piano Concerto No. 19 in F major, K.459 [Uchida/Tate]
Shostakovich: Symphony No. 6 in B minor, Op. 54 [Mravinsky]
Просмотров 19814 дней назад
Shostakovich: Symphony No. 6 in B minor, Op. 54 [Mravinsky]
Thank you for the effort!
Wonderful!
Q bonita 🥺
Hearing the Romanze makes me think, Mozart was imagining his happy childhood with his family while writing the movement...
hadelich seems to have used this exact edition since he conforms to the dynamic markings which I assume did not come from Bach but the editor. maybe this is a rare case of Bach writing some himself but if not (which I assume) its kind of weird that hadreich (who should know that) just flat out uses the dynamics of some editor rather than reimagining it himself. other than that a great recording!
See for yourself: upload.wikimedia.org/wikipedia/commons/a/ae/BWV1006_preludio_autograph_manuscript_1720.jpeg The dynamic markings are Bach's! The fact that this is so rare in his notation means that Bach really wanted this piece to be played that way, which Hadelich fortunately respects.
@@miguelfontesmeira very interesting, thank you!
CPE Bach was proud…
Vielen Dank, dass Sie mir dieses wunderschone Mozart Konzert geschickt haben. Ein Monat ist vergangen und ich habe nicht mehr zugehort Mozart Konzert und das hat mich traurig gemacht .❤
Too fast
that’s a question of choices
So simple but pretty
Узнал ее по нотам. Играюю ее у меня на канале. СУПЕР СОНАТА
Grande Bach! La sua musica suonata dal.piu' bravo pianista del secolo scorso appare sempre nuova e diversa e sempre in grado di consolare, mentre si ascolta, le perdite e le delusioni di cui la vita è sempre prodiga. Grazie ❤
the fact that ysaye used the first two measures in one of his sonatas is so interesting actually, i wonder if it was a reference or a joke
Bella la Gavotte en Rondeau! Ottima la dettagliata playlist. Grazie ❤
I continue not to be able to hear correctly the passage beginning in the second system of p. 2. Everybody-everybody!-seems always to accent the last sixteenth note of each grouping. (I guess maybe to emphasize the changing voice-leading?) I can only hear the first sixteenth of each group if I slow down to .25%) Am I a failure? How do others hear the passage?
Are you talking about the Loure? There are two sections of the Praeludium that always throw me off, whether it is due to the performers accent, or my own mind telling myself there is an accent present due to the melodic line not being where one would expect it to be in the flurry of 16th notes.
@@erika6651 No, sorry-the Preludio!
I can relate!
Amazing!!! 😊
Beautifully played Augustin! Thanks for posting! 🌺🦋🪴🌹🎻🎶🍎💐🎈🥰😝😀👍
Sarabande à little too slow 😏
Essa performance é de que ano?
@@DomFileoreum A gravação é do álbum de 2021
Merci beaucoup.
Questo stupendo e un po' inquietante brano per archi del musicista Ceco Suk mi riporta col pensiero all'indimenticabile Praga e ai suoi molteplici artisti. Grazie ❤
this is so good
Stupenda sonata in sol minore! Sembra quasi portare fresco in questa caldissima giornata. Grazie ❤
Miguel does not have genetics from mongols and is a liar due to all time conquest
Dolce e un po' triste musica in Mi minore del sempre misterioso e insondabile Bach, eseguita perfettamente da Glenn Gould. Grazie ❤
gould is perfect
What wonderful music! I only know the first of these beautiful partitas! Thanks for posting! 🌺🌹💐🪴🦋🎈😝🥰🎹🎶😀👍
What wonderful music! I only know the first of these beautiful partitas! Thanks for posting! 🌺🌹💐🪴🦋🎈😝🥰🎹🎶😀👍
Melodía muy encantadora y además parece (a mi entender) una de esas sonatas “didácticas” 😅
Thank you for 5k subscribers!
Amazing ❤
0:33 the exposition modulates to d major not c major. Other than that your interpritation and analysis is pretty spot on. I'm impressed
Thanks for your correction and compliment!
In questa calda giornata riesco appena ad immaginare l'insuperabile Bach che suona questa bellissima musica sulla tastiera (clavicembalo? Spinetta,?). Quale grave compito ha lasciato ai pianisti di oggi che ci provano ad imitarlo?7 Grazie ❤
Googy ahh sonata
Glenn Gould è un compositore particolarmente rinomato per le sue esecuzioni di Bach. Potrebbe essere per il suo tocco, quasi imitante il suono d'un clavicembalo. Tuttavia, non esiste un interpretazione di Bach perfetta, in primis perché viene suonato su uno strumento che non si avvicina quasi per niente a quello di Bach, il clavicembalo, salvo la scrittura sull'endecalineo, comune ad ambo gli strumenti. E voglio precisare che esistono molte possibili interpretazioni diverse della musica del grande maestro Bach, per quanto filologici ed attenti si vuole pur essere, ma non si giungerà mai ad una interpretazione perfetta, piena di tutto e capace di soddisfare letteralmente tutti, ma, piuttosto, ogni interpretazione possibile è volta a mettere in luce un determinato aspetto o una precisa caratteristica del pezzo, dopo un attentissimo studio non solo musicale ma puramente teorico e filologico sulle fonti originali e dell'era musicale (primi decenni del 1700) in cui il compositore stesso viveva. L'interpretazione di Glenn Gould di questo pezzo non mi ha particolarmente soddisfatto, poiché diverge eccessivamente in determinati punti (specie nella Fantasia) dalle note scritte, inventandosi praticamente le note su un disegno melodico e armonico già esposto o in esposizione. Sappiamo che i compositori nel XVIII secolo non suonavano le loro musiche così come le scrivevano, ma nell'esercizio della musica adornavano le loro composizioni di abbellimenti come appoggiature, trilli, mordenti ecc.. Esistono tuttavia delle regole ben precise da adottare in merito e non si può aggiungere un abbellimento semplicemente "perché me lo sento così" oppure "Perche così piace a me". Ci deve essere uno studio attento di tutta la musica barocca, perché questa, specialmente quella di Bach, è musica seria e che va presa come tale. Glenn Gould, per quanti studi potesse aver fatto sulla musica di Bach, si prende libertà decisamente troppo grandi, come ad esempio suonando la Sarabanda (una danza lenta e cerimoniosa) come se fosse un brillante allegretto. Bach non scriveva ovviamente che la Sarabanda doveva essersi suonata con andamento lento, perché questo era intrinseco alla danza stessa, che era tipica spagnola, e nelle corti del 1700 questa cosa la conoscevano benissimo, e sapevano anche come questa danza avrebbe dovuto essere ballata. Dunque, la lentezza di questa danza era una caratteristica oggettiva di questa. L'interpretazione di Gould non avrebbe funzionato in un contesto del genere, ma vuole bensì essere un ricercare i vari modi di suonare e concepire, seppur con attento criterio, la musica di Bach. Forse è questo ciò che rende Gould un grande interprete. Mai, in ogni caso, sapremo come veramente il grande Bach suonava la sua stessa musica.
I remember hearing this recording for the first time years ago and thought it was a midi file that somehow had a man singing along in the background! His Mozart is very mechanical, but I do love his interpretation of the k457 slow movement.
can you explain what this humming sound is that one can hear in the background? I am wondering also and still dont understand...
@@yannickgeyer6104 It is the artist…Gould was notorious for loudly humming and singing along while performing!
Elegante sonata "Adagio".
I love the harmonic emptiness at bar 69 before changing mode!
Your music gives me strength. Thank you
No. Gould gives you strength.
@@EwicoCylinder No. Gould is only 1/3 of the equation here at most. Bach is the true genius, and I know even Gould himself would say that.
@@alexsturrock9602 I mean if you prefer only reading the score than yes only bach is the genius...
@@EwicoCylinder I didn't say Bach was the only genius. Bach is the one who actually wrote the music. So why exactly does that mean that he only matters if I just want to read the score? Any good performance of this piece will display Bach's genius, and if it is an exceptionally good performance, the genius of the performer as well. Why do you gould fanatics seem to think that gould is not only the only good performer of Bach, but that Bach doesn't even matter? I thought gould sought to upheave certain "cults" of performance style. Would he not despise this cult-like treatment that you give him? Shouldn't those who love gould so much understand that no specific performer or performance should be exalted and held up as the greatest, never to be surpassed or changed in any way?
@@alexsturrock9602 Gould is one of extremly less performers who really understoud how tho play the great bach. Many performers play bach and other composers only to impress the audience with there nonsense fast tempi or to get the piece done without respecting or hearing anything from the piece they perform nor understood .
Se o pianista está cantarolando, pode cravar que é o Glenn Gould.
Schumann looks scary difficult to play. Impossible almost. Inhuman.
Como que ele pegou essa onda impresionista da epoca.
33:37
Joy!!
fantastic pianist! thank you for sharing also: the verbal addition to some of these pieces by Schumann (e.g. the last and IX) are so indescribably beautiful. hopeful, personal and intimate and so infinitely melancholy. in combination with the following music its just heart wrenching.
Hello, fantastic recording by Gould. The last 2 timestamps are wrong, quizá puedas arreglarlas.
Oh wow! Love the clarity and crispness of this. So many people sleep on the pedal throughout this amazing piece.
Amazingly balanced and clear playing, thanks for sharing
Schumann ,quante scale nella tua.musica e salite di corsa...per arrivare
dove? Forse dove cantano gli angeli.. Grazie ❤
This sonata uses the G1 through G6 range of the harpsichord (actually more than most harpsichords have).
Que difícil, Miguel... belíssima a sua interpretação... parabéns... muitíssimo lindo.
@@evandromagricalvoso4148 Meu mérito é só pelo vídeo, Evandro. A interpretação é da Sonia Rubinsky, uma pianista genial que foi a primeira a gravar a obra completa de Villa-Lobos para o piano.