Brahms: Complete Symphonies

The first part of this Academy Award-winning short consists of a behind-the-scenes look at the Los Angeles Philharmonic Orchestra as it prepares to perform Ravel's "Bolero." Individual musicians offer their thoughts as workers set up chairs and music stands; there are also comments by conductor Zubin Mehta and scenes of Mehta and the orchestra rehearsing. The rest of the film features a complete performance of "Bolero" with striking images of the orchestra as the music relentlessly approaches its climax.

Utterly astounding, iridescent sand animation from Aleksandra Korejwo based around Bizet's Carmen.

A ruthless real estate agent discovers a passion for piano and auditions with help from a young virtuoso, but the pressures of his corrupt career threaten to derail his musical aspirations.

The Nutcracker is Mikhail Baryshnikov's breathtaking and critcally acclaimed Emmy nominated production. The thisspectacular performance is danced by the magnificent team of Baryshnikov, one of the greatest classical dancers of the century, and Gelsey Kirkland, both chowcased at the peak of the their careers, with members of the American Ballet Theatre.

Conductor: Claudio Abbado. Orchestra/Ensemble: Berlin Philharmonic Orchestra. 1.Symphony no 1 in C major, Op. 21 2. Symphony no 2 in D major, Op. 36 3. Symphony no 3 in E flat major, Op. 55 "Eroica" 4. Symphony no 4 in B flat major, Op. 60 5. Symphony no 5 in C minor, Op. 67 6. Symphony no 6 in F major, Op. 68 "Pastoral" 7. Symphony no 7 in A major, Op. 92 8. Symphony no 8 in F major, Op. 93 9. Symphony no 9 in D minor, Op. 125 "Choral"

30 years after his last visit to Japan, John Williams has returned for a special concert – making his debut with the world-famous Saito Kinen Orchestra in renditions of his beloved film scores and reuniting with his longtime friend, world-renowned conductor Seiji Ozawa (1935-2024). Captured live on record at Suntory Hall last year, John Williams In Tokyo is now being be released by Deutsche Grammophon and follows his acclaimed concert albums, The Berlin Concert and John Williams in Vienna, which topped charts around the globe.

In four corners of the globe, in each of the four seasons, four outstanding violinists guide us on an extraordinary journey through their four distinct homelands. From the springtime blossoms of Japan, into the blistering heat and thunderstorms of an Australian summer; from a joyful autumn in New York, to the unforgiving cold and human warmth of a Finnish winter. The resonant and much-loved music of Antonio Vivaldi's The Four Seasons and the timeless stories they tell, form the backbone to this bold and engaging celebration of friendship, homeland and the cycles of life.

With this performance of the Missa solemnis Nikolaus Harnoncourt, Honorary Guest Conductor of the Royal Concertgebouw Orchestra, once more attained the status of a living legend, due mostly to his wide-ranging expertise of music from the Baroque and Classical era. The highly acclaimed soloists are Marlis Petersen (Soprano), twice the singer of the year by the renowned Opernwelt magazine, Elisabeth Kulman (Alto), Werner Güra (Tenor), winner of the BBC Music Magazine Award for the best vocal performance, and Gerald Finley (Bass), Grammy-Awardwinner for the best opera recording. They are accompanied by the famous Netherlands Radio Choir.

This series comprised six lectures on music, which cumulatively took the title of a work by Charles Ives, The Unanswered Question. Bernstein drew analogies to other disciplines, such as poetry, aesthetics, and especially linguistics, hoping to make these lectures accessible to an audience with limited or no musical experience, while maintaining an intelligent level of discourse: Bernstein provides two distinct meanings of the term ambiguity. The first is "doubtful or uncertain" and the second, "capable of being understood in two or more possible senses"

This series comprised six lectures on music, which cumulatively took the title of a work by Charles Ives, The Unanswered Question. Bernstein drew analogies to other disciplines, such as poetry, aesthetics, and especially linguistics, hoping to make these lectures accessible to an audience with limited or no musical experience, while maintaining an intelligent level of discourse: Lecture 5 picks up at the early twentieth century with an oncoming crisis in Western Music. As these lectures have traced the gradual increase and oversaturation of ambiguity, Bernstein now designates a point in history that took ambiguity too far.

This series comprised six lectures on music, which cumulatively took the title of a work by Charles Ives, The Unanswered Question. Bernstein drew analogies to other disciplines, such as poetry, aesthetics, and especially linguistics, hoping to make these lectures accessible to an audience with limited or no musical experience, while maintaining an intelligent level of discourse: This lecture takes its name from a line in John Keats' poem, "On the Grasshopper and Cricket". Bernstein does not discuss Keats' poem directly in this chapter, but he provides his own definition of the poetry of earth, which is tonality. Tonality is the poetry of earth because of the phonological universals discussed in lecture 1. This lecture discusses predominantly Stravinsky, whom Bernstein considers the poet of earth.