1:30 Here comes the SWAN DIVE OF ETERNAL BEAUTY!!!!!!
@listix
5 жыл бұрын
At 1:30 , the second movement is the music used in the synchronized swimming from the episode "The Club" in the Amazing World of Gumball.
@RoseCadenza
3 жыл бұрын
I can't even remember if I've seen that episode. Now I really need to watch it.
@RoseCadenza
3 жыл бұрын
I also noticed that they played it in the episode "The Robot".
@hugtrain9304
6 ай бұрын
"Mother, are we there yet?" "No, not yet, sweetie." "Mother, how much longer?" "Just a little while, my darling." "Mother, are we there yet?" "Uh, no, sweetie." "Mother, I'm bored, will you not go faster?" "Yes, that sounds like a great idea."
@chinalib57
10 жыл бұрын
Berkhard Glaetzner is, in my opinion, the greatest living lyrical oboe player. His musicianship--phrasing, interpretation, rhythm, energy, intelligence, imagination, creativity, variations and embellishments--all this making up his personal style. November 2013.
@estrellabaasmiguelangel6739
4 жыл бұрын
I listen this song in amazing world of gumball
@neliachaves9896
Жыл бұрын
Me too
@unicorn1876
4 жыл бұрын
so many people are here from gumball.... same
@RoseCadenza
3 жыл бұрын
People are coming here from Gumball. I didn't even know this piece was in Gumball. I came here because I was listening to Vivaldi's pieces for oboe.
@jonathanfeinstein2501
2 жыл бұрын
I am a classical pianist myself, and i was very pleased to hear this piece in gumball! A great piace from a great composer in A great tv show!
@chinalib57
8 жыл бұрын
To Sebas K to call playing baroque music on a modern instrument a "lie" is both an insult to the composer--as if his music should die out in the period of his life, as well as an insult to music culture as it has existed from the beginning. There are mountains of theory about original instruments and "contemporary practice." The raw fact is that we have no idea what music sounded like in Vivaldi's time, not to mention Brahms' time. Thus all perforances of early music, no matter what instrument, or machine, are experiments, reproductions, and in some way, if you must use that word, "lies." But great art does not lie. And having been born in the 20th century (possibly against my will) before anyone had begun to perform early music on "early" instruments, my ears were formed by modern instruments playing music written before their (thed instruments') time. For most people, including musical experts such as composers, performances and conductors, interpreting "early" music on modern instruments is legitimate; those who seek a kind of pure authenticity are fooling themselves; i.e. lying to themselves that an instrument, rather than the player, or an ethos, or a cultural context, creates the musical experience. Your view is simply mechanistic, and overlooks aesthetics, music history, and the human, intellectual and spiritual side of music. Not every performance of early music on modern instruments "works"; there are, in my mind, good and bad performances. Burkhard Glaetzner brings the music alive on his modern oboe, to me, while some players of the baroque oboe do not bring the music they play alive. Neither is lying.
@chinalib57
10 жыл бұрын
A most exciting, stimulating, musical and openhearted performance! This kind of expression and depth of musical creativity cannot be obtained on a baroque oboe, although this is my highly subjective opinion. I have yet to hear a recording of a "hautboy" player with the variety of color, articulation, volume and and passion as this recording on the modern oboe. Why did the 18th century oboe evolve? So it can serve our musical needs today. I, however, prefer harpsichords to pianos for music of the harpsichord period. Call me oboe-tofu.
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