The Magic Lantern

Francis Poulenc / Sonata for Flute & Piano, Op.164 - II.Cantilena: Assez lent

Wolfgang Schulz, flute · James Levine, piano

Henri Dutilleux / Ainsi la nuit, for string quartet (1976) - III. Litanies

performed by Arditti Quartet

Ernest Bloch / Suite for viola & piano (1919) - III. Largo

Jascha Nemtsov (Piano) Tabea Zimmermann (Viola)

The third movement was originally called “Nocturne.” It was inspired by the tales of a close friend who had been to Java and told of a night-time journey, passing through villages from which could be heard the distant sound of wooden musical instruments. Bloch tried to recapture the mood evoked by that story. (via)

Felix Mendelssohn / Piano Trio No.1 in D Minor Op.49 - II. Andante con Moto Tranquillo - Yo-Yo Ma, Itzhak Perlman, Emanuel Ax / Mendelssohn Piano Trios (2010)

(via yama-bato & xell)

Franghiz Ali-Zadeh / Apsheron Quintet; II. Reverse Time

 Kronos Quartet; Franghiz Ali-Zadeh, piano

Here is the first part of this quintet, Tactile Time.

(via itnumberpi, rendan, & musicophilia)

Sofia Gubaidulina / Quintet for Piano, Two Violins, Viola and Violoncello (1957) - III. Larghetto sensibile

performed by Rieko Aizawa, piano; Kai Vogler and Mira Wang, violins;
Ulrich Eichenauer, viola; Peter Bruns, cello

Alfred Schnittke / Sonata for violoncello and piano (Presto)

Performed by the Russian State Symphony Orchestra. Music to strangle someone in a silent film by.

(via fuckyeahclassical, nosmo)

Arnold Schönberg / Transfigured Night op. 4 (1899), after the poem by Richard Dehmel / Version for string orchestra: 1917 / IV. Adagio

performed by Orpheus Chamber Orchestra

Joseph Achron / ‘Hebrew Melody’ performed by Clara Rockmore (theremin) & Nadia Reisenberg (piano)

Sofia Gubaidulina / Quartet for 4 flutes (1977) - Movement 5

Susanne Barner, Hans-Udo Heinzmann, Bernd Osten, Wolfgang Ritter (flutes)

Leoš Janáček / Pohádka (Fairy Tale), for cello & piano (“The Story of Tsar Berendyey”), JW 7/5; I. Con moto

Andrew Shulman, cello; Ian Brown, piano

This is the earliest surviving instrumental duet by Janáček. It is in a free sonata form and might well have been named “Sonata” or “Sonata-fantasy,” but Janácek’s penchant for drama emerges here. The piece is inspired by Vasily Zhukovsky’s poem The Tale of Tsar Bendvei, which itself is a modern poetic adaptation of old heroic tales. The plot involves a young warrior-prince who finds himself taken by the king of the underworld. He has to triumph in tests of valor and magic, and is aided in this by the king’s daughter, who has fallen in love with Bendvei. Janáček was a late bloomer, musically, and although he was approaching 60 when he wrote the piece, he was still developing his most familiar late style. Nevertheless, the work abounds with the very short melodies which are Janáček’s thumbprint, allowing for brisk, effective musical story-telling.  —Joseph Stevenson, All Music Guide

(via musicophilia)

Antonín Dvořák (1841-1904): Ciganské melodie / Gypsy Songs Op. 55 (1880) - No. 5 Struna naladěna / Tune thy strings, oh gipsy!

Edita Gruberova, Friedrich Haider (1995)

Text

 (via zveneczi)

Piano Trio in D minor, Op.3; III. Allegro

Alexander Zemlinsky

Performed by the Beaux Arts Trio

(via musicophilia)

Gabriel Fauré: Piano Quartet op. 45 in g - I. Allegro molto moderato

(via musicophilia:zveneczi)