Category: Music Videos
The 2019 MTV Video Music Awards was held on August 26, 2019, at the Prudential Center in Newark, being the first VMA ceremony to be held in New Jersey. Sebastian Maniscalco hosted the 36th annual ceremony. Ariana Grande, Taylor Swift, and Billie Eilish were the most awarded with three each. Missy Elliott became the first female rapper to win Michael Jackson Video Vanguard Award. The show was broadcast on a variety of Viacom-owned networks, as well as their respective websites, and apps through TV Everywhere authentication.
Main show list:
– Rick Ross and Pepa – presented Best Hip Hop
– Hailee Steinfeld – announced the top two nominees for Best New Artist and presented the award later in the night
– Bebe Rexha – introduced Shawn Mendes
– Alison Brie and French Montana – presented Best Latin
– Megan Thee Stallion – introduced Lizzo
– Billy Ray Cyrus – introduced Lil Nas X
– Jonathan Van Ness – presented Video for Good
– Cardi B – presented the Video Vanguard award
– Lindsey Vonn and P. K. Subban – introduced Shawn Mendes and Camila Cabello
– Queen Latifah and John Travolta – presented Video of the Year
– Lizzo – introduced Miley Cyrus
– Keke Palmer – presented Song of the Year
– Gigi Hadid and Bella Hadid – introduced Rosalía and Ozuna
– Lenny Kravitz – introduced H.E.R. and Normani
– Drea de Matteo, Vincent Pastore and Jamie-Lynn Sigler – presented Best Pop
– DJ Khaled – introduced Big Sean and ASAP Ferg
– Alex Morgan, Ali Krieger and Ashlyn Harris – presented Best Collaboration
– Victor Cruz and Adriana Lima – introduced J Balvin and Bad Bunny
– Ice-T – introduced Redman, DoItAll, Fetty Wap, Wyclef Jean, Naughty by Nature and Queen Latifah
“Now just imagine a work so grand that the whole world is actually reflected therein – so that one is, so to speak, only an instrument upon which the universe plays,” Gustav Mahler wrote in the summer of 1896 to his lover, the soprano Anna von Mildenburg. The composer was spending the holidays in the Austrian town of Steinbach am Attersee to work on his new symphony, the Third, free of his commitments as conductor. With this work, which has six rather than the usual four movements, Mahler went beyond the scope of all that preceded him, exceeding the Second Symphony by about 15 minutes – a piece whose duration was already of extensive length, with a playing time of about 90 minutes. The first movement alone lasts more than half an hour. Brusque, garish, advancing in an unrelenting march tempo, it pulls the listeners into an unsettling world. Mahler develops a musical universe, a cabinet of curiosities of life and nature, so to speak, from the raw, from below. Mahler originally gave each movement a programmatic title. He later dispensed with the names, but the “inner programme” remained nonetheless.
Mahler forges together the sublime and the vulgar: echoes of military and funfair music, grotesque humour and folksy cheeriness are found next to profound desperation and mystical transcendency. In the fourth movement there is an alto solo on the words of the poem “O Mensch! Gib acht!” from Friedrich Nietzsche’s Also sprach Zarathustra; the fifth movement is a choral movement in which Mahler has set the song “Es sungen drei Engel” from Des Knaben Wunderhorn to music. New as well: the symphony ends not with a fast movement, but with a hymnal Adagio. Incidentally: the first complete performance of the Third Symphony with the Berliner Philharmoniker took place in January 1907 conducted by Gustav Mahler. Since then, the orchestra has performed this work with many renowned conductors. The Hungarian Iván Fischer, a guest conductor with the Berliner Philharmoniker since 1989, presents himself here for the first time in the framework of Philharmoniker orchestral concerts as a Mahler interpreter.
There are many prejudices about the music of the 20th century – for example, that it is always complicated or ponderous, or in the worst case, both. In this concert, the Berliner Philharmoniker, conductor Iván Fischer and the violinist Lisa Batiashvili prove the opposite to be the case in spirited works by Stravinsky and Prokofiev. First, however, there was a moment of reflection, as the Berliner Philharmoniker remembered a close friend.
The composer Hans Werner Henze died on 27 October. For many years, he was closely connected to the orchestra and had entrusted the Philharmoniker with the premiere of many of his works. In honour of Henze, Olaf Maninger performed his Epitaph für Violoncello solo, which the composer wrote in 1979 in memory of his composer friend Paul Dessau who had died in 1979.
The programme proper began with Stravinksy’s Jeu de cartes: a sparkling score, full of irony and surprising accents. There is also grotesque humour in Prokofiev’s First Violin Concerto, and at no time is one aware that it was composed in 1917 – during the chaos of war and revolutionary unrest. The fact that Lisa Bathiashvili perfectly conveyed the exuberance of this music was confirmed by the Berliner Morgenpost: “In the Philharmonie, Lisa Batiashvili revealed herself to almost be a ballerina on the violin. Her fingers unerringly danced, flew and sprang about her Stradivarius. And in doing so, she achieved everything Prokofiev embedded in the score of his First Violin Concerto: adventure, joy, high spirits, and lust for life.”
When Iván Fischer conducts the Berliner Philharmoniker, he regularly brings musical gems from his native Hungary. Audiences are then usually surprised: Why have we never heard this wonderful music before? This reaction is also likely with this recording with Ernő Dohnányi’s Symphonic Minutes and Jenő Hubay’s Violin Concerto No. 3. From the core Classical and Romantic repertoire, the Fifth Symphony by Franz Schubert is also to be heard.
Ernő Dohnányi’s Symphonic Minutes from 1933 and Jenő Hubay’s Violin Concerto No. 3, completed in 1907, perfectly embody the fire and longing that we associate with Hungarian music, while at the same time remaining original and surprising. Their roots lie unmistakably in the 19th century and especially in the music of Johannes Brahms. The soloist in Hubay’s concerto is Daniel Stabrawa, who has been a member of the Berliner Philharmoniker since 1983 and was appointed 1st concertmaster of the orchestra three years later.
In Schubert’s Fifth Symphony, there is also a relationship to an older model: in this case, Wolfgang Amadeus Mozart. Just a few weeks before composing the symphony, the 19-year-old Schubert praised the “magical sounds of Mozart’s music” in his diary. In his Fifth Symphony, echoes of Mozart’s G minor Symphony No. 40 can be heard in particular: in the floating opening, in the theme of the scherzo, and in the crystalline lightness of the orchestral writing.
It was Stanley Kubrick who helped Béla Bartók’s Music for Strings, Percussion and Celesta to widespread popularity: in 1980, the legendary American filmmaker set several scenes of his horror film The Shining, based on Steven King’s novel of the same name, to the beginning of the second movement of the composition Bartók had composed 44 years earlier – an idiosyncratic interpretation of this music, that, like the work’s other movements, bears witness to Bartók’s musical language, by the same token suggestive and compositionally precisely developed. Eight years before composing Music for Strings, Percussion and Celesta, Bartók admitted: “In my more recent works I use more counterpoint than I used to. In that way I avoid the formulas of the 19th century that were predominantly homophonic in nature. I study Mozart. Didn’t he combine contrapuntal and homophonic ideas in some of his slow movements in a wonderful way?”
It’s thus no wonder that Bartók’s compatriot Iván Fischer has also placed one of the most popular symphonies penned by Mozart on the programme. In Mozart’s 38th contribution to the genre according to the established reckoning, the so-called Prague Symphony, echoes of its composer’s operas can hardly be overheard. And thus it is only logical that vocal music can also be heard in this programme. Christiane Karg, whose technically flawlessly soprano voice is virtually predestined to bring Mozart’s music to life, can be experienced as the interpreter of several arias that Mozart composed for prima donnas who were celebrated in his day, or with which he helped other composers’ stage works to achieve success.
The programme kicks off with Prélude à l’unisson, the first movement of the Orchestral Suite No. 1 by George Enescu, the Rumanian composer who died in Paris in 1955. This rarely heard piece also fits in the overall picture: That’s because since Fischer took up his position as chief conductor of the Konzerthausorchester in August 2012, he has enriched Berlin’s musical life with countless exciting facets. His bridge building between Mozart and Bartók, between concertante and vocal music, between the familiar and new discoveries promises to be a similarly interesting evening.
Release Date: 2012
Genre: Classsical, Opera
Conductor: Kent Nagano
John Mark Ainsley – Idomeneo
Pavol Breslik – Idamante
Juliane Banse – Ilia
Annette Dasch – Elettra
Rainer Trost – Arbace
Guy de Mey – Gran Sacerdote di Nettuno
Steven Humes – La Voce
Bayerisches Staatsorchester, Chor Der Bayerischen Staatsoper
Duration: 02:54:09 + 00:10:20
Video codec: MPEG2
Audio codec: PCM, DTS
Video: MPEG-2 Video / 24978 kbps / 1080i / 29.970 fps / 16:9
Audio # 1: Italian / LPCM Audio / 2.0 / 48 kHz / 2304 kbps / 24-bit
Audio # 2: Italian / DTS-HD Master Audio / 5.1 / 48 kHz / 3993 kbps / 24-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 24-bit)
Audio # 2: Italian / DTS-HD Master Audio / 5.1 / 48 kHz / 3993 kbps / 24-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 24-bit)
Subtitles: Italian, English, German, French, Spanish
Size: 42,83 GB
With this wonderful production, Mozart’s “Munich” opera returns to the place where it was first performed in 1781, the lovingly restored Cuvilliés Theatre, a veritable jewel of Rococo architecture. In Dieter Dorn’s production, the characters are real people of flesh and blood, their emotions and conflicts intelligible to every member of the audience. The fantastic cast includes some of the finest Mozart singers of our day, headed by the British tenor John Mark Ainsley in the title role, while Kent Nagano in the orchestra pit appears to unleash an elemental force of nature.
Release Date: 2017
Genre: Classical, Oratorio
Conductor: Marc Kissoczy
Actors: Magali Léger (soprano), Marion Grange (soprano), Guilhem Terrail (countertenor), Mathieu Dubroca (baritone)
Orchestre de Chambre de Lausanne, Ensemble Vocal de Lausanne
Production/Label: Bel Air Classiques
Video codec: MPEG4 AVC
Audio codec: PCM
Video: MPEG-4 AVC Video / 27995 kbps / 1080i / 29.970 fps / 16:9 / High Profile 4.1
Audio # 1: LPCM Audio / 2.0 / 48 kHz / 1536 kbps / 16-bit
Subtitles: English / French / German
Size: 19,27 GB
The Passion according to Mark. A Passion after Auschwitz, premiered in April 2017. The project was commissioned to French composer Michaël Levinas by the Swiss association Musique pour un temps présent, as part of the events commemorating the 500th anniversary of Luthers reform. This original oratorio is not only a reinterpretation or a mere revisitation of the Passion – what the many references to Bachs Passions could lead to believe, it painfully faces, indeed, the irreconcilable nature of the Passion and the Holocaust. What is the object of this Passion after Auschwitz, which revolves around what can link two musical traditions, two religions that have been separated by barbarism. Which music, which tradition, which language can the composer use in order to express this double silence, both historical and theological, both human and divine? After the Holocaust, is it possible to compose without crying and trembling ?, Michaël Levinas asks. It is not about anger or compassion. Because of the subtle polyphonies written for the chorus, the voices and the orchestra, and also because of the way the different languages – Old French, Yiddish, Aramaic, German – create meaning out of one another, both the structure and the musical language of this Passion are incredibly intricate. But they are so for a reason: by putting side by side western musical traditions and the tragic component of modern history, Levinas manages to «shake», during the artistic process, the future of the Holy Language and of the Gospel after Auschwitz. What separates therefore the Gospel of Mark from the Jewish prayer for the dead (Kaddish) or from the El male Rahamim, or from the two poems by Paul Celan ending the work, is not so much a question of representation, but more accurately it is a way to make the tragedy resound, without any artifice and without any safety net.
Title: The Morricone Duel – The Most Dangerous Concert Ever
Release Date: 2018
Video codec: MPEG-4 AVC Video
Audio codec: PCM, DTS-HD
Video: MPEG-4 AVC Video / 29561 kbps / 1080i / 29,970 fps / 16:9 / High Profile 4.1
Audio 1: LPCM Audio / 2.0 / 48 kHz / 2304 kbps / 24-bit
Audio 2: DTS-HD Master Audio / 5.1 / 48 kHz / 4248 kbps / 24-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 24-bit)
Size: 19,05 GB
The Wild West meets the soulful sound of Italy. Fearless New York gangsters meet cowboys from the dusty prairie. Godfather meets Taxi Driver. And the magic of cinema meets the rich sound of a first-class symphony orchestra. This exclusive live concert production presents a unique selection of movie classics – from Sergio Leone’s iconic Spaghetti Westerns to modern mafia masterpieces by Francis Ford Coppola and the cult movies of Tarantino. The Danish National Symphony Orchestra is conducted by Sarah Hicks and joined by a fistful of strong guest artists for this premiere performance of the authentic soundtracks by composer legends Ennio Morricone, Nino Rota, Sonny Bono and Bernard Herrmann.
Tuva Semmingsen mezzo-soprano | Hans Ulrik saxophone | Christine Nonbo Andersen soprano | Mads Kjølby guitars
Danish National Symphony Orchestra
Title: The Rolling Stones Rock And Roll Circus 1968
Release Date: 1996/2019
Production/Label: ABKCO Music & Records
Video codec: MPEG-4 AVC Video
Audio codec: DTS-HD
Video: MPEG-4 AVC Video / 24991 kbps / 1080p / 23.976 fps / 16:9 / High Profile 4.1
Audio 1: English / Dolby TrueHD/Atmos Audio / 7.1 / 48 kHz / 3449 kbps / 16-bit (AC3 Embedded: 5.1 / 48 kHz / 640 kbps / DN -31dB)
Audio 2: English / Dolby TrueHD Audio / 5.1 / 48 kHz / 1828 kbps / 16-bit (AC3 Embedded: 5.1 / 48 kHz / 640 kbps / DN -31dB)
Audio 3: English / LPCM Audio / 2.0 / 48 kHz / 2304 kbps / 24-bit
Audio 4: English / Dolby Digital Audio / 2.0 / 48 kHz / 192 kbps / DN -31dB
Audio 5: English / Dolby Digital Audio / 2.0 / 48 kHz / 192 kbps / DN -31dB
Audio 6: English / Dolby Digital Audio / 2.0 / 48 kHz / 192 kbps / DN -31dB
Subtitles: English, Spanish, French, Italian, German, Dutch, Portuguese
Size: 44,82 GB
Originally filmed in December 1968, “The Rock and Roll Circus” was originally intended to be released as a television special. The special was filmed over two nights and featured not only the Rolling Stones but The Who, Jethro Tull (with future Black Sabbath guitarist Tommy Iommi filling in for the recently departed Mick Abrahams), Marianne Faithful and an all-star jam featuring John Lennon, Eric Clapton, Keith Richards and Mitch Micthell. Sadly, this also marked the final appearance of the Stones founder and original guiding light, Brian Jones, who would be dead within six months after filming the special.
The Rolling Stones Rock And Roll Circus has received a 4K Dolby Vision restoration of the concert film on Blu-Ray.
Stunning 4K restoration performed in Dolby Vision and Dolby Atmos Sound. First time on Blu-Ray – now with Dolby ATMOS.
The show also featured performances from The Who, Jethro Tull, Taj Mahal, Marianne Faithfull, Yoko Ono, as well as ‘supergroup’ The Dirty Mac – consisting of Eric Clapton, Keith Richards, Mitch Mitchell of The Jimi Hendrix Experience and John Lennon. Unheard tracks by the collective are available on this release for the first time ever.