Одну секунду
Что-то сучилось. Попробуйте еще раз.
Sibelius music смотреть последние обновления за сегодня на .
Jean Sibelius (8 December 1865 – 20 September 1957), was a Finnish composer and violinist of the late Romantic and early-modern periods. He is widely recognized as his country's greatest composer and, through his music, is often credited with having helped Finland to develop a national identity during its struggle for independence from Russia. The core of his oeuvre is his set of seven symphonies, which, like his other major works, are regularly performed and recorded in his home country and internationally. His other best-known compositions are Finlandia, the Karelia Suite, Valse triste, the Violin Concerto, the choral symphony Kullervo, and The Swan of Tuonela (from the Lemminkäinen Suite). Other works include pieces inspired by nature, Nordic mythology, and the Finnish national epic, the Kalevala, over a hundred songs for voice and piano, incidental music for numerous plays, the opera Jungfrun i tornet (The Maiden in the Tower), chamber music, piano music, Masonic ritual music, and 21 publications of choral music. Sibelius composed prolifically until the mid-1920s, but after completing his Seventh Symphony (1924), the incidental music for The Tempest (1926) and the tone poem Tapiola (1926), he stopped producing major works in his last thirty years, a stunning and perplexing decline commonly referred to as "The Silence of Järvenpää", the location of his home. Although he is reputed to have stopped composing, he attempted to continue writing, including abortive efforts on an eighth symphony. In later life, he wrote Masonic music and re-edited some earlier works while retaining an active but not always favourable interest in new developments in music. The Finnish 100 mark note featured his image until 2002, when the euro was adopted. Since 2011, Finland has celebrated a Flag Day on 8 December, the composer's birthday, also known as the "Day of Finnish Music". In 2015, the 150th anniversary of the composer's birth, a number of special concerts and events were held, especially in the city of Helsinki. Jean Sibelius 1. Allegretto 2. Andante ma rubato 3. Vivacissimo 4. Finale, Allegro moderato 5. At the Castle Gate 6. M lisande 7. By the Seashore 8. By a Spring in the Park 9. The Three Blind Sisters 10. Pastorale 11. M lisande at the Spinning Wheel 12. Entr acte 13. M lisande s Death For more: 🤍 #MusicHistory #ClassicalMusic #Sibelius
Finlandia, Op. 26 is a symphonic poem by the Finnish composer Jean Sibelius. The first version was written in 1899, and it was revised in 1900. The piece was composed for the Press Celebrations of 1899, a covert protest against increasing censorship from the Russian Empire, as the last of seven pieces, each performed as an accompaniment to a tableau depicting episodes from Finnish history. The premiere was on 2 July 1900 in Helsinki with the Helsinki Philharmonic Society conducted by Robert Kajanus. A typical performance takes anywhere from 7½ to 9 minutes. A recurrent joke within Finland at this time was the renaming of Finlandia at various musical concerts so as to avoid Russian censorship. Titles under which the piece masqueraded were numerous, a famously flippant example being Happy Feelings at the awakening of Finnish Spring. Most of the piece is taken up with rousing and turbulent music, evoking the national struggle of the Finnish people. But towards the end, a calm comes over the orchestra, and the serenely melodic Finlandia Hymn is heard. Often incorrectly cited as a traditional folk melody, the Hymn section is of Sibelius's own creation. Although initially composed for orchestra, in 1900 Sibelius arranged the entire work for solo piano. Sibelius later reworked the Finlandia Hymn into a stand-alone piece. This hymn, with words written in 1941 by Veikko Antero Koskenniemi, is one of the most important national songs of Finland (though Maamme is the national anthem). With different words, it is also sung as a Christian hymn (Be Still, My Soul), and was the national anthem of the short-lived African state of Biafra (Land of the Rising Sun). Created by Wild Scandinavia / Wildes Skandinavien / (2011) Directors: Oliver Goetzl Writers: Oliver Goetzl Cinematography: Ivo Nörenberg, Jan Henriksson and Rolf Steinmann Gulo Film Productions 🤍 "This film shows animal behaviour that has never been filmed before: Oliver Goetzl and Ivo Nörenberg got the first ever made shots of a wild lynx in the finish wilderness, they did highspeed shots of Goldeneye chicks jumping out of their tree nest, they filmed exciting encounters of bears and wolves. The documentary was shot with more than 650 shooting days." #jeansibelius #finlandia
Johan Julius Christian Sibelius (1865-1957) - Complete Symphonies by Sir John Barbirolli. 🎧 Find this recording in our Spotify playlist : 🤍 Symphony No.1 in E minor Op.39 *Click to activate the English subtitles for the presentation* (00:00-01:10) l. Andante, ma non troppo - Allegro energico (00:00) ll. Andante - ma non troppo lento (12:07) Ill. Scherzo - Allegro (22:30) IV. Finale: Quasi una fantasia - Andante - Allegro molto (28:09) Symphony No.2 in D Op.43 *Click to activate the English subtitles for the presentation* (42:02-43:25) l. Allegretto (42:02) Il. Tempo andante, ma rubato (52:37) Ill. Vivacissimo (1:07:39) IV. Finale - Allegro moderato (1:13:39) Symphony No.3 in C Op.52 *Click to activate the English subtitles for the presentation* (1:28:09-1:29:06) l. Allegro moderato (1:28:09) Il. Andantino con moto, quasi allegretto (1:40:23) Ill. Moderato - Allegro - ma non tanto (1:51:38) Symphony No.4 in A minor Op.63 *Click to activate the English subtitles for the presentation* (2:00:58-2:02:28) l. Tempo molto moderato, quasi adagio (2:00:58) ll. Allegro molto vivace (2:10:53) Ill. Il tempo largo (2:15:40) IV. Allegro (2:26:48) Symphony No.5 in E flat Op.82 *Click to activate the English subtitles for the presentation* (2:37:15-2:38:40) I. Tempo molto moderato - Allegro moderato - Presto (2:37:15) Il. Andante mosso, quasi allegretto (2:51:21) Ill. Allegro molto - Un pochettino largamente (3:00:28) Symphony No.6 in D minor Op.104 *Click to activate the English subtitles for the presentation* (3:10:41-3:11:49) l. Allegro molto moderato (3:10:41) Il. Allegretto moderato (3:20:04) III. Poco vivace (3:27:00) IV. Allegro molto (3:30:44) Symphony No. 7 in C Op.105 *Click to activate the English subtitles for the presentation* (3:40:36-3:42:05) I. Adagio (3:40:36) II. Un pochettino meno adagio - Vivacissimo - Adagio (3:48:07) III. Allegro molto moderato (3:52:49) IV. Vivace - Presto - Adagio (3:57:18) Hallé Orchestra Sir John Barbirolli Recorded in 1966,69-70, at London Find CMRR's recordings on Spotify: 🤍 *COMMENTAIRE COMPLET : VOIR PREMIER COMMENTAIRE ÉPINGLÉ.* Dans la *DEUXIÈME* Symphonie (achevée en 1902), le conteur et le symphoniste « absolu » s'approchent davantage de l'équilibre. Le premier mouvement retient avant tout l'attention en raison de sa remarquable logique interne : presque tout y découle, d'une manière ou d'une autre, du motif ascendant de trois notes exposé par les cordes dans les toutes premières mesures véritable motif symphonique « en devenir » (même si l'exultante fanfare entendue au point culminant du mouvement nous replonge momentanément dans l'univers nordique des dieux et des héros). Une grande partie du deuxième mouvement, le mouvement lent, reprend un matériau provenant d'un poème symphonique évoquant l'ultime confrontation entre Don Juan et la Mort, avec un second thème aux cordes, consolateur, clairement intitulé « Christus » sur les esquisses. Il serait difficile de ne pas percevoir dans ce mouvement le déroulement d'une sorte de lutte spirituelle, la Mort semblant l'emporter, comme dans la légende de Don Juan. C'est au scherzo et au finale qu'il appartiendra de finalement réunir ces deux mondes. Le thème du finale émerge victorieusement de la texture agitée de la fin du scherzo (hommage manifeste au passage correspondant de la Cinquième Symphonie de Beethoven, bien que sonnant très différemment). Puis, à la fin de la symphonie, le motif ascendant de trois notes du premier mouvement donne naissance à un nouveau thème, s'élevant bientôt à la quarte puis à la quinte, brillamment exposé par les trompettes. En tant que symbole de l'espoir qui renaît, cette coda est encore plus subjugante que la triomphale conclusion du Retour de Lemminkainen.. *COMMENTAIRE COMPLET : VOIR PREMIER COMMENTAIRE ÉPINGLÉ.* Sibelius - Complete Orchestral Works / Finlandia.. + Presentation (Cent. rec. : Sir John Barbirolli) 🤍 Elgar - Enigma Variations, Nemrod / Pomp and Circumstance, March (Century's recording : Sir John Barbirolli) : 🤍 Johan Sibelius PLAYLIST (reference recordings) : 🤍
Philharmonia Orchestra Vladimir Ashkenazy
People have been bugging me on doing a workflow video for Sibelius 6 - this isn't exactly that, but it still will give some insight into the whole Sibelius process. Follow me on the interwebs 🤍 🤍 Peace, Adam
Jean Sibelius: 2. Sinfonie D-Dur op. 43 ∙ I. Allegretto ∙ II. Tempo andante, ma rubato – Andante sostenuto – Allegro – Andante sostenuto III. Vivacissimo – Lento e soave – Tempo primo – Lento e soave – Largamente ∙ IV. Finale. Allegro moderato ∙ hr-Sinfonieorchester – Frankfurt Radio Symphony ∙ Susanna Mälkki, Dirigentin ∙ hr-Sinfoniekonzert ∙ Alte Oper Frankfurt, 17. Mai 2019 ∙ Website: 🤍 ∙ Facebook: 🤍
In this video, I take a detailed look at the UX/UI design of Avid's Sibelius - a popular music notation software. Sibelius is the embodiment of what not to do as a user experience designer and this video covers a range of examples of inappropriate design patterns and bad user interface choices. Then I go insane. Support me on Patreon: 🤍 Twitter: 🤍 Discord: 🤍 This really is one of the great examples of breaking all user interface design principles and every user experience design principle too. It's like a design bull in a musical china shop. - Thanks to Jonathan Lee (Pentameron) for providing much better subtitles than mine. Really appreciate the work and I've learned a lot about how to do it properly. (You'd think it's easy, wouldn't you?)
Jean Sibelius: 7. Sinfonie ∙ Adagio – Allegro molto moderato – Vivace – Presto – Adagio ∙ hr-Sinfonieorchester – Frankfurt Radio Symphony ∙ Paavo Järvi, Dirigent ∙ hr-Sinfoniekonzert ∙ Alte Oper Frankfurt, 19. Mai 2022 ∙ Website: 🤍 ∙ Facebook: 🤍 ∙ ARD-Mediathek: 🤍 ∙ #4K © 2022 Hessischer Rundfunk (hr)
Johan Julius Christian Sibelius (1865-1957) - Complete Symphonies by Paavo Berglund. 🎧 Find this recording in our Spotify playlist : 🤍 Click to activate the English subtitles for the presentation (00:00-05:00) Symphony No.1 in E minor, Op.39 00:00 No.1 l. Andante, ma non troppo - Allegro energico 10:57 No.1 ll. Andante - ma non troppo lento 19:59 No.1 Ill. Scherzo - Allegro 25:01 No.1 IV. Finale: Quasi una fantasia - Andante - Allegro molto Symphony No.2 in D, Op.43 36:29 No.2 l. Allegretto 45:21 No.2 Il. Tempo andante, ma rubato 58:05 No.2 Ill. Vivacissimo 1:03:55 No.2 IV. Finale - Allegro moderato Symphony No.3 in C, Op.52 1:16:20 No.3 l. Allegro moderato 1:26:37 No.3 Il. Andantino con moto, quasi allegretto 1:36:25 No.3 Ill. Moderato - Allegro - ma non tanto Symphony No.4 in A minor, Op.63 1:45:03 No.4 l. Tempo molto moderato, quasi adagio 1:54:47 No.4 ll. Allegro molto vivace 1:59:32 No.4 Ill. Il tempo largo 2:09:31 No.4 IV. Allegro Symphony No.5 in E flat, Op.82 2:19:32 No.5 I. Tempo molto moderato - Allegro moderato - Presto 2:33:13 No.5 Il. Andante mosso, quasi allegretto 2:41:14 No.5 Ill. Allegro molto - Un pochettino largamente Symphony No.6 in D minor, Op.104 2:50:02 No.6 l. Allegro molto moderato 2:58:17 No.6 Il. Allegretto moderato 3:03:48 No.6 III. Poco vivace 3:07:44 No.6 IV. Allegro molto Symphony No. 7 in C, Op.105 3:19:08 No.7 I. Adagio 3:26:23 No.7 II. Un pochettino meno adagio - Vivacissimo - Adagio 3:29:24 No.7 III. Allegro molto moderato 3:36:13 No.7 IV. Vivace - Presto - Adagio Sibelius by Paavo Berglund: Kullervo Symphony Op.7 (with Chorus): 🤍 Helsinki Philharmonic Orchestra Conducor: Paavo Berglund Recorded in Painting: Akseli Gallen-Kallela (1865-1931) The Shepherd from Paanajärvi (1892). 🔊Find CMRR's recordings on Spotify : 🤍 🔊Download CMRR's recordings in High fidelity audio : 🤍 During a career spanning fifty years, Paavo Berglund (1929-2012), one of the very few left-handed conductors to have refused the diktat that all conductors must lead with the baton in their right hand, devoted himself tirelessly to popularising the greatest composer of his native land, Jean Sibelius. And although he excelled in many other repertoires, it was around the Finn that he ensured his posterity, with no less than three complete symphonies. The second, which interests us today, is in a way the point of balance, the happy medium between the raspy energy of the early works and the late tendency towards abstraction. Above all, it marks a return to the roots with the most atavistic of Siberian phalanges, the Helsinki Philharmonic founded by Robert Kajanus, a close friend of the composer who recorded - albeit in England with two British orchestras - some of the first versions of some of his symphonies in the early 1930s. Half a century later (1984-1987), Berglund approaches his middle section with a concern for authenticity aimed at purifying the sonorities, considerably thinning the strings, which never take precedence over the much less individualised solo woodwinds than in Bournemouth, and the brass, which is refined but has a constant discreet presence. No more mass effects, titanic crescendi and telluric climaxes, in favour of a fine and luminous Scandinavian line. His mineral sounds are the very essence of Sibelius. Johan Sibelius PLAYLIST (reference recordings): 🤍
Jean Sibelius, Finland’s most famous composer, is mainly known for his epic seven symphonies, but he wrote an fine corpus of piano music of surprising quality and originality. In his piano works Sibelius is able to conjure up wonderfully effective and evocative moods, inspired by nature and the rich Finnish folklore. His piano textures are sonorously innovative and have a symphonic dimension, a combination of powerful expression and intimate delicacy. Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): 🤍 More Information: 🤍 Composer: Jean Sibelius Artist: Eero Heinonen (piano) This album contains piano works by Sibelius, presented by Piano Classics, a label of Brilliant Classics. Accessible, haunting music by a 20th-century master in an unfamiliar guise. A recipient of the Sibelius Society’s medal, Eero Heinonen has long been a champion of the composer’s neglected output for piano. With this recording he continues to make the case for music that does not easily give up its secrets but, in the right hands, sings with Sibelius’s unique voice. Sibelius was not himself an accomplished pianist, but he wrote for the instrument – at which he composed – throughout his career, and maintained that, while often overlooked, its time would come. In recent years his prophecy has come true, especially with the Op. 75 suite of five pieces which he composed in 1914 and titled ‘The Trees’. They move from a Tchaikovskian melancholy common to much of his earlier piano output, through impressionist studies of light and darkness, to the kind of sombre, dissonant harmonies in the final piece (‘The Spruce’) which call to mind orchestral masterpieces such as En Saga and Tapiola. Rather than cherry-picking from a considerable output, Eero Heinonen has chosen to present four complete opus numbers which nevertheless encapsulate the range of Sibelius’s piano writing. In the Six Impromptus Op. 5 of 1890-93 he successfully integrates elements of Finnish folk music within the idiom of fantasy inherited from Schubert and Chopin. The 10 Pieces Op. 24 were written between 1895 and 1903 – formative years for the composer, in which he moved away from his German-influenced training and discovered for himself a more distinctively Finnish voice, but in this context still within the genre of salon pieces. These are the works most directly comparable with Grieg’s Lyric Pieces. Then, before the Op. 75 masterpieces, he wrote a trio of Sonatinas Op. 67 in 1912, around the same time as the troubled Fourth Symphony. The first of them, as played here by Eero Heininen, shares some of the symphony’s austere idiom and introvert nature. Every gesture is pregnant with meaning, often mysterious and tentative, even in the apparently offhand opening movement. Social media: Facebook: 🤍 Spotify: 🤍 Brilliant Classics: Facebook: 🤍 Spotify: 🤍 Instagram: 🤍 Tracklist: 6 Impromptus, Op. 5: 0:00:00 I. Imprompus in G Minor. Moderato 0:02:29 II. Imprompus in G Minor. Lento-Vivace 0:04:20 III. Imprompus in A Minor. Moderato/Alla Marcia 0:06:49 IV. Imprompus in E Minor. Andantino 0:09:07 V. Imprompus in B Minor. Vivace 0:12:25 VI. Imprompus in E Major. Comodo Sonatina in F-Sharp Minor, Op. 67/1: 0:15:24 I. Allegro 0:17:57 II. Largo 0:21:05 III. Allegro moderato 5 Morceaux, Op. 75: 0:22:51 I. När rönnen blommar/Kun pihlaja kukkii/When the Mountain Ash is Blooming 0:24:38 II. Den ensamma furan/Yksinäinen honka/The Solitary Fir Tree 0:27:15 III. Aspen/Haapa/The Aspen 0:29:36 IV. Björken/Koivu/The Birch 0:31:16 V. Granen/Kuusi/The Spruce 10 Piano Pieces, Op. 24: 0:34:54 I. Impromptu in G Minor 0:39:01 II. Romance in A Major 0:45:03 III. Caprice in E Minor 0:47:52 IV. Romance in D Minor 0:51:14 V. Valse in E Major 0:53:15 VI. Idyll in F Major 0:56:30 VII. Andantino in F Major 0:59:26 VIII. Nocturno in E Minor 1:02:53 IX. Romance in D-Flat Major 1:06:35 X. Barcarola in G Minor Thank you for watching this video, we hope you enjoyed it! Don’t forget to share it and subscribe to our YouTube channel: 🤍 And visit our channel for the best classical music from the greatest composers like: Bach, Satie, Mozart, Tchaikovsky, Beethoven, Chopin, Haydn, Ravel, Debussy, Verdi, Vivaldi, Handel, Brahms, Liszt, Schubert, Mendelssohn, Rachmaninoff, Wagner, Strauss, Handel, Dvorak and many more! We upload complete albums, music for relaxing, working, studying, meditating, concentrating, instrumental music, opera, violin, classical piano music, sonatas and more! #Sibelius #Piano #Music #Classical #PianoClassics #BrilliantClassics #EeroHeinonen
A quick video explaining how to do basic notation work in Sibelius Ultimate. Buy Sibelius at 🤍 and buy NotePerformer 3 at 🤍
Music by Sibelius marks the 100th anniversary of Finnish Independence. Performed by the BBC Singers, BBC Symphony Chorus and the BBC Symphony Orchestra, conducted by Sakari Oramo.
Sous la direction de Mikko Franck, l'Orchestre philharmonique de Radio France joue le "Concerto pour violon et orchestre en ré mineur" op. 47 de Jean Sibelius avec Hilary Hahn. Concert donné en direct de l'Auditorium de la Maison de la Radio à Paris. Quatre ans avant la mort du violoniste Joseph Joachim (1831-1907), qui inspira nombre de partitions du XIXe siècle, Jean Sibelius se met à la composition de son propre Concerto pour violon et orchestre, conçu entre ses Deuxième et Troisième Symphonies. Mais contrairement à celui de Brahms, par exemple, ce concerto ne fut pas écrit à l’intention de Joachim ni créé par lui. On l’entendit une première fois en 1903, puis il fut donné dans sa version définitive le 19 octobre 1905, à Berlin, sous la direction de Richard Strauss, avec le soliste Karl Halir. L’œuvre témoigne du désir de Sibelius de donner à son effusion une vigueur, une densité à cent lieues du sentimentalisme d’un Glazounov (dont le Concerto pour violon date aussi de 1903). Sibelius, qui était lui-même un brillant violoniste, s’empare ici d’une des formes les plus traditionnelles qui soient, en respecte le déroulement tripartite (un premier mouvement rhapsodique, une cantilène sublime, un rondo bondissant), mais le nourrit d’une inspiration toute d’étrangeté et de dépaysement. Nielsen, huit ans plus tard, tentera de renouveler la forme (en deux parties de deux mouvements chacune) mais sans aboutir au même épanouissement. C’est qu’on est là au cœur d’un univers musical à la fois en transition et en maturation. Sibelius, en 1904, s’installe d’ailleurs à Järvenpää, à une trentaine de kilomètres au nord d’Helsinki, dans une maison qu’il ne quittera plus, comme s’il voulait trouver un cadre nouveau, fait de solitude et d’exigence, à sa nouvelle inspiration. Hilary Hahn, l'interview décalée : 🤍 #HilaryHahn #Sibelius #OrchestrePhilharmoniqueDeRadioFrance #violin 00:00 - Début du concert 00:25 - 1er mouvement : Allegro moderato 19:25 - 2ème mouvement : Adagio di molto 28:45 - 3ème mouvement : Allegro ma non tanto - 🔔 Pensez à vous abonner pour découvrir d’autres vidéos France Musique ! 🤍 Découvrez tout France Musique : ► Site internet - 🤍 ► Espace Concerts - 🤍 ► Newsletters - 🤍 Suivez-nous sur les réseaux sociaux : ► Facebook - 🤍 ► Twitter - 🤍 ► Instagram - 🤍 ► TikTok - 🤍
Het Radio Filharmonisch Orkest en Groot Omroepkoor bestaan 75 jaar! Om dit te vieren, openden het orkest en koor op vrijdag 11 september op feestelijke wijze het nieuwe seizoen van Het AVROTROS Vrijdagconcert. Ze speelden onder meer de 'Symfonie nr. 3' van Jean Sibelius. Op het programma: Jean Sibelius - Symfonie nr. 3, op.52 in C gr.t. De uitvoerenden: Radio Filharmonisch Orkest Groot Omroepkoor Karina Canellakis [dirigent] Opname: Het AVROTROS Vrijdagconcert van vrijdag 11 september 2020, in de Grote Zaal van TivoliVredenburg te Utrecht. 🤍 Meer AVROTROS Klassiek: ♬ Facebook: 🤍 ♬ Twitter: 🤍 ♬ Instagram: 🤍 The Radio Philharmonic Orchestra and The Netherlands Radio Choir are celebrating their 75th anniversary! The party took place during the opening of the brand new season of The AVROTROS Friday Concerto, a series by Dutch broadcaster AVROTROS. Among other works, they performed the 'Symphony No. 3' by Jean Sibelius. On the musical program: Jean Sibelius - Symphony No. 3 in C major, Op. 52 The musicians: Radio Philharmonic Orchestra The Netherlands Radio Choir Karina Canellakis [conductor] Recording: The AVROTROS Friday Concerto of Friday the 11th of September 2020, in the Great Hall of TivoliVredenburg in Utrecht, The Netherlands. More AVROTROS Klassiek: ♬ Facebook: 🤍 ♬ Twitter: 🤍 ♬ Instagram: 🤍
Hey friends! Welcome to the first installment of #TutorialTuesday! This is my first long-form tutorial and I loved putting it together for y'all. We cover a ton of Sibelius basics while having a liiiiiiiiiitlle bit of fun 😜. Keep in mind that the mouse clicks didn't register correctly because I was using a faulty screencapture software... Living and Learning These tips work for any version of Sibelius 7 or higher. WATCH NEXT: 🤍 -Gear Used- iMac Pro: 🤍 Magic Keyboard WITH NUMERIC KEYPAD: 🤍 Mobile Keypad: 🤍 MIDI Keyboard: 🤍 Sibelius Ultimate: 🤍 (Crappy screencap software that isn't even worth mentioning) #Sibelius #MusicNotationSoftware #Tutorial #Composers
VOCES8 performs 'This Is My Song' to the tune of Finlandia by Jean Sibelius, arranged here by VOCES8 tenor, Blake Morgan. TEXT Vv1&2 by Lloyd Stone, v.3 Blake Morgan This is my song, O God of all the nations, A song of peace for lands afar and mine. This is my home, the country where my heart is, Here are my hopes, my dreams, my holy shrine. But other hearts in other lands are beating, With hopes and dreams as true and high as mine. My country’s skies are bluer than the ocean, And sunlight beams on cloverleaf and pine. But other lands have sunlight too, and clover, And skies are everywhere as blue as mine. *This is my song, O God of all the nations, A song of peace for their land and for mine. So let us raise this melody together, Beneath the stars that guide us through the night; If we choose love, each storm we’ll learn to weather, Until true peace and harmony we find, This is our song, a hymn we raise together; A dream of peace, uniting humankind. *modified from Stone’s original poetry
Musiikkitalon avajaiset - Finlandia Finlandia op.26 (san. V.A. Koskenniemi) Helsingin kaupunginorkesteri Radion sinfoniaorkesteri Sibelius-Akatemian suuri kuoro Jukka-Pekka Saraste
🎵 Please consider subscribing for more score videos! 🎵 Find out more about this piece on my website: 🤍 🎵 Listen to more music for String Orchestra with score on my channel here: 🤍 Composed in 1893, just a year after Sibelius gave up on his lifelong dream of being a solo violinist, the mournful opening of his impromptu could be seen as longingly looking back at the career he could have had; even though later that year his ever-popular Karelia would signal the start of his successful role as one of Finland's most loved composers. - Read more on my website: alto-clef.com - Performed by Kammerphilharmonie Amadé Conductor: Frieder Obstfeld Hey, I’m a music student who designs these videos in my little free time to help my studies, and hopefully to help you too. If you have any recommendations I’d love to hear from you! Feel free to message me on twitter (🤍 or comment and email any suggestions you have - in most cases out of copyright I do my best to upload as soon as possible. Thank you :) This work is in the public domain, and the score used in this video is my own edition. If you are interested, you can download the full score and parts for free from my website: 🤍 The audio used is still protected by copyright, so advertisements may run on this video, with all revenue going directly to the copyright holder. See the 'Music in this video' section below for more information. Thank you for watching! If you enjoyed this video, and are able to, I'd be very grateful if you can donate to my channel, at 🤍 - Thank you for watching! :)
Steinway Artist Janne Mertanen plays Kuusi, Op. 75 No. 5 by Jean Sibelius Janne Mertanen, piano Film Crew Director of Photography: Tuomas Tenkanen 1st AC: Anna-Maria Viksten Edit & Color: Tuomas Tenkanen Audio Production: Heikki Savolainen Filmed in Steinway Gallery Helsinki Big Thanks to Steinway Gallery Helsinki Emilia Takayama Hellin Tapionlinna Ukko Mannermaa Gear Used: 3x Blackmagic Pocket Cinema Camera 4K, Mitakon 25mm f0.95, Mitakon 17mm f0.95, Sigma 50-100 f1.8, Helios 58mm f2.0
(R)*.... ,Great Music,Great Orchestra!!!! video edited by a.vullo
- composer: Jean Sibelius (1865 - 1957) - pianist: shiraishi NAL (Tokyo,JP) - year of recording: 2015
*Watch in HD* Nordic String Quartet Heiðrun Petersen (Faroe Islands) - Violin Mads Haugsted Hansen (Denmark) - Violin Daniel Eklund (Sweden) - Viola Lea Emilie Brøndal (Denmark) – Cello Video: Jakob Pagel Andersen Recorded at Royal Danish Academy of Music Nordicstringquartet.com
Jean Sibelius (1865-1957) Orchestral Works by Hans Rosbaud / Remastered. 🎧 Qobuz 🤍 Tidal 🤍 🎧 Spotify 🤍 Youtube Music 🤍 🎧 Apple Music — Amazon Music 🤍 🎧 Deezer 🤍 Amazon Store 🤍 🎧 Napster 🤍 Soundcloud 🤍 🎧 LineMusic日本 🤍 Awa日本 🤍 Click to activate the English subtitles for the presentation (00:00-02:51) 00:00 Karelia Suite, Op. 11 - I. Intermezzo, Moderato (Remastered 2021) 03:18 Karelia Suite, Op. 11 - II. Ballade, Tempo di menuetto (Remastered 2021) 10:04 Karelia Suite, Op. 11 - III. Alla marcia, Moderato (Remastered 2021) 15:41 Valse triste, Op. 44 No. 1 (Remastered 2021) 20:04 Finlandia, Op. 26 No. 7 (Remastered 2021) 27:59 Tapiola, Op. 112 (Remastered 2021) 46:24 The Swan of Tuonela, Op. 22 No. 2 (Remastered 2021) 54:14 Scènes Historiques No. 1, Op. 25 - III. Festivo (Remastered 2021) Berliner Philharmoniker Conductor: Hans Rosbaud Recorded in 1954, 1957 New mastering in 2022 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : 🤍 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : 🤍 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) 🤍 That there was a connection between Jean Sibelius and Hans Rosbaud may seem more than strange. The result clearly showed that transparency and solid construction, essential characteristics of his modern interpretation, did not only determine his meticulous approach to the works of Pierre Boulez or Karlheinz Stockhausen. One need only listen to the martial chords of the brass at the beginning of Finlandia or the cantilena of the woodwinds in the middle section to be convinced of this. It is precisely in this program music, animated by a Nordic romanticism and exalting the will of Finnish independence, that the contrast between Rosbaud's lucid approach, his concern for clarity of contours, balance and differentiation of sound levels, and those trivial and heavy interpretations that undoubtedly contributed greatly to the criticism of Sibelius by Rosbaud's colleagues, is most clearly apparent. The respect of the score, as much for the dynamic indications as for the accentuation, the renunciation of any The respect for the score, as much for the dynamic indications as for the accentuation, the renunciation of any exaggeration, trivialization or equalization of each character and of the different parts, make the music here much more interesting than in the megalomaniac or sentimental interpretations that one is used to hearing. In Tuonela's Swan, the sound planes swirl, but they are often almost motionless, exuding a peace in which every detail remains perceptible, though they are constantly interwoven in different ways. Under Rosbaud's baton, even the Valse triste - composed in 1903 and based on the incidental music for Arvid Järnefelt's play Kuolema ("Death") - escapes the thick "romantic haze". Rosbaud's purification of this piece, by renouncing all theatrical effects, really brings out the refinement of the work's musical language. It is only when the syncopated rhythm of the waltz is rendered accurately and distinctly that the subject of the piece, the birth of a hesitant memory, takes its proper form. In contrast, Rosbaud makes the climax, where the strings are concentrated with extreme density, the evocation of a past passion. Click to activate the English subtitles for the presentation (00:00-02:51) Sibelius - Violin Concerto in D minor, Op. 47 / Remastered (rf.rc.: David Oistrakh, Eugene Ormandy): 🤍 Johan Sibelius PLAYLIST (reference recordings): 🤍
Support us on Patreon and get more content: 🤍 - Jean Sibelius Symphony No 1 in E minor, Op 39 1 Andante, ma non troppo - Allegro energico 2 Andante (ma non troppo lento) 3 Scherzo. Allegro 4 Finale. Andante - Allegro molto - Andante assai Orchestre de Paris Paavo Järvi, conductor
- Composer: Johan Julius Christian Sibelius (8 December 1865 20 September 1957) - Orchestra: Stockholm Radio Symphony Orchestra - Conductor: Sixten Ehrling - Soloist: Camilla Wicks - Year of recording: 1952 Violin Concerto in D minor, Op. 47, written in 1903-1904. 00:00 - I. Allegro moderato in D minor 15:53 - II. Adagio di molto in B-flat major 24:27 - III. Allegro, ma non tanto in D major The Violin Concerto is not the only work Sibelius wrote for solo violin with orchestra; he wrote a variety of excellent, shorter works including Two Serenades (1913) and Six Humoresques (1917). But the concerto is certainly the most ambitious of all these works. Despite the early enthusiasm of a few violinists notably Maud Powell, who was the soloist in the American premiere with the New York Philharmonic in 1906 and repeated the work several times on a transcontinental tour the concerto was slow to catch on with audiences. Not until Jascha Heifetz took up the work and recorded it in the 1930s did the concerto become what it is today, one of the most popular of the national Romantic concerto repertory. Sibelius was himself a fine violinist. He took up studying the instrument at 15 with his hometown's military bandmaster, and shortly thereafter was taking part in chamber music performances and playing in his school's orchestra. He felt he had taken up the violin too late in life to become a true virtuoso, but he brought his intimate knowledge of the instrument to bear on this, his only concerto, which he completed in 1903. The soloist at the first performance was to be the composer's friend Willy Burmeister. But when scheduling difficulties intervened, Viktor Novacek was given the honor of premiering the work in Helsinki on February 8, 1904, with Sibelius himself conducting. After this indifferently received performance, Sibelius withdrew the work for revision. Ultimately, the work was shortened, including the excision of one solo cadenza, and featured a brighter orchestral sound. The first performance of the revised score took place on October 19, 1905 in Berlin, with Richard Strauss conducting and Karl Halir, a member of Joseph Joachim's quartet, as soloist. Sibelius had a less than high regard for virtuoso violinists or for many of the works written for them. In his concerto, he manages to strike an ideal balance between instrumental brilliance and the more purely musical, structural, and emotional values. At one point he gave a pupil some advice about writing concertos, saying that one should be aware of the audience's patience (and the stupidity of many soloists!) and avoid long, purely orchestral passages. He certainly took his own advice, as the violinist takes up the expressive main theme of the first movement in the fourth bar, and rarely relinquishes center stage for the remainder of the concerto's half-hour duration. - The opening movement, cast in first-movement sonata form, contrasts passages of restraint and melancholy with passages of great force and intensity. One unusual feature is the mid-movement cadenza for the soloist, which shares some qualities with like passages in the great virtuoso concertos of the nineteenth century, but is more substantial and more fully integrated into the overall form of the piece. - Wind duets start the slow second movement, after which the soloist takes up the lush, almost Tchaikovskian main melody. Later in the movement the violinist is called on to play a fiendish two-part counterpoint. - This is but one of the numerous technical hurdles the soloist must conquer in this work; many more arise in the brilliant, dance-like third movement, with its insistent rhythm and the folk-like cast of its melodies. The excitement and momentum carry through to the very end of the work.
Conductor: Leif Segerstam Orchestra: Danish National symphony orchestra Sibelius's 7th symphony is his last symphony and has only one movement. The piece was in 1924 and its opus number is 105.
Jean Sibelius (1865-1957) Symphonies Nos. 1,2,7 & Orchestral Works by Eugene Ormandy 🎧 Qobuz 🤍 Apple Music 🤍 🎧 Amazon Music 🤍 Tidal 🤍 🎧 Spotify 🤍 Deezer 🤍 🎧 Youtube Music 🤍 SoundCloud — 🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 … 00:00 Symphony No. 1 in E minor Op. 39 - l. Andante, ma non troppo - Allegro energico 11:18 Symphony No. 1 in E minor Op. 39 - II. Andante (ma non troppo lento) 20:40 Symphony No. 1 in E minor Op. 39 - III. Scherzo: Allegro 26:02 Symphony No. 1 in E minor Op. 39 - IV. Finale: Andante - Allegro molto - Andante assai - Allegro molto come prima - Andante (ma non troppo) (Remastered 2022, Version 1962) 39:44 Symphony No. 2 in D Major Op. 43 - l. Allegretto 49:24 Symphony No. 2 in D Major Op. 43 - Il. Tempo andante, ma rubato 1:03:36 Symphony No. 2 in D Major Op. 43 - Ill. Vivacissimo 1:09:15 Symphony No. 2 in D Major Op. 43 - IV. Finale: Allegro moderato (Remastered 2022, Version 1957) Sibelius: Symphonies Nos. 1,2,7 & Orchestral Works by Eugene Ormandy: 🤍 Philadelphia Orchestra Conductor: Eugene Ormandy Recorded in 1957,1962 New mastering in 2022 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : 🤍 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : 🤍 ❤ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) 🤍 Eugene Ormandy met Sibelius several times in the 1950s, including a tour of Finland with the Philadelphia Orchestra in the spring of 1955, when all the musicians visited Sibelius at his home "Ainola. This certainly provided valuable information about the performance of his works, hence the importance of these engravings. They constitute a unique and faithful testimony to the composer's vision. There is little doubt of the heroic tone of many elements of the FIRST Symphony (1898-99) - for example, the raucous brass fanfares that crown the work's first great crescendo, the languid, Tchaikovsky-like love theme that opens the second movement, and especially the powerfully rhetorical free fantasy finale, which inevitably ends with the hero's death and in the key of Kullervo's denouement, E minor. The starting point of this finale, a fiery, richly developed and eminently tragic theme in the strings, sounds as if it were a new theme; in reality, it is a more or less literal reworking of the haunting clarinet theme heard in the symphony's opening. It is one of the earliest examples of the kind of thematic metamorphosis that was to become both more subtle and even more present in the following symphonies. In the SECOND Symphony (completed in 1902), the storyteller and the "absolute" symphonist come closer to balance. The first movement is most noteworthy for its remarkable internal logic: almost everything in it derives, in one way or another, from the ascending three-note motive in the strings in the very first bars, a true symphonic motive "in the making" (though the exultant fanfare at the movement's climax momentarily returns us to the Nordic world of gods and heroes). Much of the second movement, the slow movement, draws on material from a symphonic poem evoking the final confrontation between Don Juan and Death, with a consolatory second string theme, clearly titled "Christus" in the sketches. It would be difficult not to perceive in this movement the unfolding of a kind of spiritual struggle, with Death seeming to prevail, as in the legend of Don Juan. It is the scherzo and the finale that will finally bring these two worlds together. The theme of the finale emerges victoriously from the agitated texture of the end of the scherzo (an obvious homage to the corresponding passage in Beethoven's Fifth Symphony, though sounding very different). Then, at the end of the symphony, the ascending three-note motive of the first movement gives rise to a new theme, soon rising to a fourth and then a fifth, brilliantly exposed by the trumpets. As a symbol of hope reborn, this coda is even more stunning than the triumphant conclusion of Lemminkainen's Return. Jean Sibelius PLAYLIST (reference recordings): 🤍
Info: 🤍 0:00 Finlandia 5:10 Choir (Oi Suomi, katso/Finland, behold) Marcin Mirowski – conductor M. J. Zebrowski Music School Symphony Orchestra & Choir in Czestochowa in Poland recorded at Czestochowa Philharmony Concert Hall, May 23, 2022 #ZebrowskiMusicSchool #MMirowski
Song of Peace - based on the Symphonic Poem "Finlandia" by Jean Sibelius. Performed by the eighth grade of the Waldorfschule Karl Schubert - Graz Arrangement, music production and choir coaching: Dimitris Gelis Video: Leonhard Beidl Special thanks to Magdalena Beidl, Florentina Regner, Stefan Tossold and Jenny Rüter
🎶 COMPLETE Sibelius' Symphonies (with score): 🤍 🎶 Follow me on INSTAGRAM! → instagram.com/spscorevideos/ 🎶 SUBSCRIBE to my PATREON! → patreon.com/stefanopaparozzi 🎶 PAYPAL for free donations! → paypal.me/stepaparozzi Jean Sibelius (1865-1957) Symphony No. 2 in D major, op. 43 I. Allegretto [0:00] II. Tempo Andante, ma rubato [9:57] III. Vivacissimo - Lento e grave [24:44] - IV. Allegro moderato [30:57] Iceland Symphony Orchestra Petri Sakari Audio from: 🤍 Score from: 🤍
Cinq Morceaux Opus 75 (1914-19) Sibelius's "tree cycle" is one of the finest examples of the composer's sensitive, pantheistic way of feeling: "the trees speak" to him. The popularity of the opus speaks for itself. 0:00 - 1. När rönnen blommar (Allegretto, 1914) "When the Rowan Blossoms" brings to mind Tchaikovsky's piano songs. It is a "chanson triste" or a "chanson sans paroles". 2:02 - 2. Den ensamma furan (Grave, 1914) "The Solitary Pine" gives an impression of utter steadfastness. At the time of its composition it was interpreted as a symbol of Finland standing firm against the icy winds from the east. 4:45 - 3. Aspen (Andantino, 1914) "The Aspen" breathes enigmatic impressionism. The responses from the baritone register of the left hand and the bare accompanying chords on the right hand are Nordic in their taciturnity. 7:05 - 4. Björken (Allegro, 1914) "The Birch", the favourite tree of the Finns, "stands so white". The first two strophes of the piece are in B flat Mixolydian mode. Their left-hand ostinato produces the effect of a field, by minimalist means. The Misterioso closing of the work, the third strophe, remains strangely open: the scale points in the direction of A flat Mixolydian, but it can also be interpreted as striving in the direction of a D flat centre. The riddle is not solved, since a low D flat note appears under the concluding open chord (A flat - E flat). 8:46 - 5. Granen, Le sapin (Stretto-Lento; 1919) "The Spruce" is one of Sibelius's indisputable hits, a slow waltz comparable to Valse triste. The fast arpeggios in the Risoluto section are truly stunning. Might upload my own performance of No 5, it is such a beautiful piece :) Sorry for deviating from Liszt xD Pf: Håvard Gimse
Hello everyone in this video i'll be showing you how to input notes into Sibelius using a USB MIDI keyboard. 0:26 Template select 0:35 Flexi time menu 1:06 Setting flexibility of tempo 1:31 adding a count in bar 2:01 setting maximum number of bars 2:19 Setting voices 2:29 Notation settings 2:33 Minimum note length 2:56 Input devices 3:44 Transport window 4:07 Recording 5:33 Renotating parts
The early 1900s, a heady time for theatre in Finland, was also the time of Sibelius’s most intense activity in writing for the stage. Very quickly after Kuolema (1902) and Pelleas and Melisande (1905), he produced music for Hjalmar Procope’s play Belshazzar’s Feast. In contrast to Maeterlinck’s masterpiece, Procope’s play really only survives now through Sibelius’s music—and critics at the time were not slow to point out the superiority of the music to the drama. Belshazzar’s Feast was premiered at the Swedish Theatre in Helsinki in November 1906. Sibelius provided a score of ten numbers, and although the concert suite (which Sibelius premiered himself in 1907) has only four movements, it incorporates all the significant material from the full score. Though infrequently performed, the four pieces that make up the suite from Sibelius' incidental score for the play are typical of the composer's music in that genre. Though perhaps not ideally suited to concert performance, the music, which contains moments of great poignancy, serves its original purpose extremely well. Steering clear of any traditional means of musical development, Sibelius instead relies on extended formal repetition and the use of ostinato to portray the local color of the drama. (00:14) The opening "Oriental March" depicts a Babylonian procession; here Sibelius' natural affinity for fusing traditional harmonies with various modal flavors comes to the fore. (02:56) "Solitude" is a poetic, introspective vision which relies heavily upon ostinato and hushed effects in the strings section. (06:20) The dissonant, sobbing gestures of "Night Music" remain philosophically in the same vein as "Solitude." (10:41) The final piece, "Khadra's Dance," is lighter in mood, though features an oboe melody of some pathos. (Hyperion, AllMusic) Please take note that the audio AND the sheet music ARE NOT mine. Change the quality to a minimum of 480p if the video is blurry. Original audio: 🤍 (Performance by: New Zealand Symphony Orchestra, conducted by Pietari Inkinen) Original sheet music: 🤍
When inspiration strikes, wrestling with software is the last thing you want to do. We’ll use a film score to show you great tips for streamlining your workflow when you compose with Sibelius and Pro Tools. ▶️ 🤍 Follow Avid Sibelius: 🤍 🤍 🤍 🤍 🤍
Finlandia is one of Sibelius most well known works. Let's take a closer look at the history behind the music and the composer. BBC Symphony and Chorus - 🤍 Visit the Official Odd Quartet Store: 🤍 Purchase great merch to help support the channel! Become a patron on Patreon and help me shape the future of this channel! 🤍 Follow me: Facebook | 🤍 Instagram | 🤍 Twitter | 🤍 “Finlandia Op. 26” By: Jean Sibelius Performed By: Lahti Symphony Orchestra Courtesy of Naxos of America, Inc.
A viewer asked me how I first discovered Sibelius, and it just so happens that I remember exactly when and how I first heard his music. So here's the story!
Malcolm Sargent:Wiener Philharmoniker
.svg){kind=small}
