Youtube videos you might like.

[Diapason]

Sean, that's a great video. I'm actually working this back up again for a recital next year, so I know every note. They do a wonderful job, I have to say!

[Seán]

Sean, that's a great video. I'm actually working this back up again for a recital next year, so I know every note. They do a wonderful job, I have to say!

I am delighted you like it Simon, I was very taken with it when I first heard it and have listened to it several times.

[Seán]

I think that this is exquisite.

[Seán]

The 9 Symphonies
Ludwig van Beethoven (1770 - 1827)
Orchestra: Vienna Philarmonic Orchestra conducted by W. Furtwangler

0:00 Symphony n. 1
25:35 Symphony n. 3
1:17:48 Symphony n. 2
1:50:00 Symphony n. 4
2:25:52 Symphony n. 5
3:01:36 Symphony n. 7
3:40:21 Symphony n. 6
4:25:10 Symphony n. 8
4:50:59 Symphony n. 9

[Seán]

Gary Karr and Jazz musician Richard Davis:

[Seán]

Oh dear, it looks as if the Classical music section is dying, ah well, what a pity.

Finlandia, In honour of the great Jean Sibelius

[Seán]

[Seán]

A lovely interview with Isabel Leonard

[Seán]

Self indulgent of me I know but I do love Rossini's music and I am partial to Ms Joyce DiDonato; this is gorgeous:

[Seán]

Voices of Music
Hanneke van Proosdij & David Tayler, directors

A note on this video: The Brandenburg Concertos are ensemble pieces, and every musician has a finely-wrought musical line. Rather than assemble clips of small solos, the goal in presenting this work was to show the entire ensemble--in this way, the viewer can follow the counter-subjects as well as the main themes in the musical composition. A specially designed hyperfocal lens was used for the center camera to render the entire soundstage in focus, edge to edge and front to back, so that at resolutions of 1080p and higher, one can view each individual musician. Graduated depth of field was used on the supporting cameras to throw the image into relief when showing sections of instruments. Surround sound techniques were used to place the listener in the middle of the ensemble, so that each part can be clearly heard, as well as seen.
Text: For this recording, a new edition of the concerto was made based on Bach's autograph manuscript, with careful attention to the original articulation marks.
Original instruments: the Brandenburg concertos have been performed on every imaginable combination of instruments. We believe that the greatest transparency is achieved when the work is performed on instruments from the time of Bach, using the techniques and styles of the time. In Bach's time, music was performed without a conductor, and each musician had a voice in the interpretation.
Tempo: The first movement has no tempo indication, so a tempo of allegro was chosen based on the style of the music. In the baroque period, the tempo of allegro "assai" or presto would not have been usual for the opening movement; however, the tempo is left to the performers' imagination: the allegro tempo allows all the parts to be clearly heard. The second movement famously consists of two simple chords, to which Hanneke has improvised a very simple decoration from the harpsichord. The third movement is marked allegro by the composer; here we have decided upon an affect of fleetness, as the themes and counter-subjects whirl around the ensemble, but stopping just shy of the faster tempo marks--allegro assai and presto-- which Bach reserves for other places in his Brandenburg manuscript.
Numerology: it is no coincidence that Bach attached special significance to the the numbers two and three, and their multiple of six. Since medieval times, the number three, the symbol of the trinity, was considered the "perfect" division for time signatures, and the combination of two and three form the rhythmic underpinnings of Western music. For the third concerto, it's all about the number three: Bach employed the unusual combination of 3+3+3: three violins, three violas, three cellos, possibly reworking an earlier composition for these resources. To continue Bach's tradition, nine HD cameras were used to film this work.
Recorded at St. Stephen's Church, Belvedere, California.