Brahms: Symphony No.4 in E minor – Bernstein / Wiener Philharmoniker
Johannes Brahms: Symphony No.4 in E minor, Op.98
Leonard Bernstein, conductor
(September 8, 1988, Luzern)
Johannes Brahms: Symphony No.4 in E minor, Op.98
Leonard Bernstein, conductor
(September 8, 1988, Luzern)
St. Giles, Abbot (Patron of Physically Disabled) Feast day – September 1 St. Giles is said to have been a seventh century Athenian of noble birth. His piety and learning made him so conspicuous … continue reading
In the country the darkness of night is friendly and familiar, but in a city, with its blaze of lights, it is unnatural, hostile and menacing. It is like a monstrous vulture that hovers, biding its time.
***Franz Schubert: Symphony No.2 in B-flat major, D.125 (1815)
The second movement is a theme with five variations in E flat major. Although there is some variation in the melody, the primary focus of the variations are on instrumentation and tone color. The first variation features violins and winds. The second variation passes the theme between the low strings and the woodwinds. The third variation is again violins and winds. The fourth variation is in C minor and features some acceleration with the use triplet-sixteenth notes. The fifth variation maintains the triplet-sixteenths, but they move into the background with the melody returning close to its original form as a kind of recapitulation. A coda concludes the movement.
The minuet is in C minor and mainly scored for the tutti and fortissimo. The contrasting Trio in E flat major is more thinly scored winds, violins and pizzicato bass. The melody of the trio is actually a variation of the theme used in the second movement forming a melodic and harmonic (E-flat/C minor) link is made between the inner two movements.
The finale is a galop in fast 2/4 time.
***From Wikipedia, the free encyclopedia:
“Adoramus Te is a stanza that is recited/sung mostly during the Stations of the Cross of the Catholic tradition. It is retained in some confessional Anglican and Lutheran traditions during the Good Friday liturgy, although generally in the vernacular. It is recited or sung between stations. The words in Latin and their translation in English are as follows:
Adoramus te, Christe,
et benedicimus tibi,
quia per sanctam crucem tuam redemisti mundum.
Qui passus es pro nobis, Domine,
Domine, miserere nobis.
We adore Thee, O Christ,
And we bless Thee,
Who by Thy Holy Cross
hath redeemed the world.”
(translated by Google Translate)
Foundress of the Little Sisters of the Poor. Born in Catalonia, Spain, she overcame many difficulties in her youth and eventually became a teacher at Lerida. Desirous to enter the religious life, she … continue readin
I think I should have no other mortal wants, if I could always have plenty of music. It seems to infuse strength into my limbs and ideas into my brain. Life seems to go on without effort, when I am filled with music.
Cortázar was an Argentinean novelist who gained recognition as one of the century’s major experimental writers. A permanent resident of France after 1951, his works reflect his interest in French Surrealism, psychoanalysis, photography, jazz, and revolutionary Latin American politics. His masterpiece, Rayuela—translated as Hopscotch—creates a world in which eroticism, humor, and play offer solace for life’s cruelty and despair. What is unique about the novel’s structure? More… Discuss
Born Albino Luciani, Pope John Paul I was the first pope to choose a double name, a decision that honored his two immediate predecessors, Pope John XXIII and Pope Paul VI. Refusing to have the traditional papal coronation, he instead opted for a simplified ceremony. His 33-day papacy was one of the shortest reigns in papal history, resulting in the most recent “Year of Three Popes.” Though several conspiracy theories emerged after Pope John Paul I’s sudden death, what most likely killed him? More… Discuss
We come from the land of the ice and snow,
The hammer of the gods will drive our ships to new lands,
We come from the land of the ice and snow,
From the midnight sun where the hot springs blow.
How soft your fields so green, can whisper tales of gore,
Of how we calmed the tides of war. We are your overlords.
On we sweep with threshing oar, Our only goal will be the western shore.
So now you’d better stop and rebuild all your ruins,
For peace and trust can win the day despite of all your losing.
|“Whole Lotta Love”|
|Single by Led Zeppelin|
|from the album Led Zeppelin II|
|B-side||“Living Loving Maid (She’s Just a Woman)“|
|Released||7 November 1969|
|Length||5:34 (album version)
5:33 (single, 1st pressings)
3:10 (single, 2nd pressings)
|Led Zeppelin singles chronology|
“Whole Lotta Love” is a song by English hard rock band Led Zeppelin. It is featured as the opening track on the band’s second album, Led Zeppelin II, and was released in the United States and Japan as a single. The US release became their first hit single, it was certified Gold on 13 April 1970, having sold one million copies. As with other Led Zeppelin songs, no single was released in the United Kingdom, but singles were released in Germany (where it reached number one), the Netherlands (where it reached number four), Belgium and France.
In 2004, the song was ranked number 75 on Rolling Stone magazine’s list of the 500 Greatest Songs of All Time, and in March 2005, Q magazine placed “Whole Lotta Love” at number three in its list of the 100 Greatest Guitar Tracks. It was placed 11 on a similar list by Rolling Stone. In 2009 it was named the third greatest hard rock song of all time by VH1. Already part of their live repertoire, “Whole Lotta Love” saw its first official release on the LP Led Zeppelin II on 22 October 1969 (Atlantic LP #8236).
The song is in compound AABA form. Page played the loose blues riff for the intro, on a Sunburst 1958 Les Paul Standard guitar through a Vox Super Beatle, which ascends into the first chorus. Then, beginning at 1:24 (and lasting until 3:02) the song dissolves to a free jazz-like break involving a theremin solo and a drum solo and the orgasmic moans of Robert Plant. As audio engineer Eddie Kramer has explained: “The famous Whole Lotta Love mix, where everything is going bananas, is a combination of Jimmy and myself just flying around on a small console twiddling every knob known to man.” Kramer is also quoted as saying:
[A]t one point there was bleed-through of a previously recorded vocal in the recording of “Whole Lotta Love”. It was the middle part where Robert [Plant] screams “Wo-man … You need … Love” Since we couldn’t re-record at that point, I just threw some echo on it to see how it would sound and Jimmy [Page] said “Great! Just leave it.”
Alternatively, Jimmy Page has vehemently denied that the song originated onstage:
Interviewer: Is it true “Whole Lotta Love” was written onstage during a gig in America, when you were all jamming on a Garnett Mimms song?
Page: No. No. Absolutely incorrect. No, it was put together when we were rehearsing some music for the second album. I had a riff, everyone was at my house, and we kicked it from there. Never was it written during a gig–where did you hear that?
Interviewer: I read it in a book.
In a separate interview, Page explained:
I had [the riff] worked out already before entering the studio. I had rehearsed it. And then all of that other stuff, sonic wave sound and all that, I built it up in the studio, and put effects on it and things, treatments.
Rhapsody en Re mayor Op. 45 Nº1
1. Allegro con moto
2. Allegro ma non troppo-Moderato
3. Andante maestoso-Allegro assai
Orquesta Filarmónica Checa
Director: Václav Neuman
Fecha y año de composición 1878
Dedicatoria Baron Paul von Dervies
Instrumentación: Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 4 Horns, 2 Trumpets, 3 Trombones, Timpani, Bass Drum, Cymbals, Triangle, Harp, Violins I, Violins II, Violas, Cellos, Double Basses.
1878 fue un año importante para Antonín Dvorák : Dvorák amigo de Johannes Brahms le ayudó a levantar desde el pozo de la oscuridad haciendo los arreglos para la publicación alemana de sus Duetos moravos; en consecuencia, recibió el encargo del primer volumen de sus Danzas eslavas que, hasta el día de hoy, siguen siendo, junto con el “Nuevo Mundo” Symphony, Dvorák música más conocidas. Estos eventos marcan el inicio de Dvorák llamado períodos eslavo “(finales de 1870 a principios de 1880), durante el cual él respondió directamente a la demanda del público y de los deseos de su editor por componer música explícitamente bohemio / Checo / Morava de tono, el estilo, y en cierta medida, de diseño. Las tres eslava rapsodias para orquesta, op. 45, de 1878, son las más grandes manifestaciones de esa financieramente rentable vena musical.
El primero de los tres eslava rapsodias en re mayor, op. 45/1, fue compuesto durante febrero y marzo de 1878 y por lo tanto en realidad es anterior a las Danzas eslavas; N º 2 en sol menor y n º 3 en La bemol mayor que siguió en el otoño y principios del invierno, respectivamente. La orquesta empleada es bastante grande; el contingente habitual de los vientos y las cuerdas se ve aumentada por el arpa y una brigada de percusión de tamaño considerable. Las tres piezas se unen para formar un ciclo de clases, aunque casi nunca se oye hablar de ellos interpretados juntos como un conjunto.
La característica más memorable del N º 1 es el episodio-march como central, mientras que el No. 2 se distingue por sus numerosos cambios entre 3/4 y 4/4. La tercera eslava Rhapsody se abre con un solo de arpa cuya sustancia es inmediatamente absorbido por los instrumentos de viento, y procede a explorar una serie de melodías de buen carácter; la gran culminación parece disolverse elusively sin una resolución final, pero al final dos acordes brillantes dibujar la pieza a la cadencia que anhelamos
1878 was an important year for Antonín Dvorák: Dvorák friend Johannes Brahms helped him lift from the pit of darkness making arrangements for the German publication of his Moravian Duets; consequently, he was commissioned the first volume of his Slavonic Dances that until today, remain, along with the “New World” Symphony, Dvorák‘s music known. These events mark the beginning of Dvorák Slavonic called periods “(late 1870s to early 1880s), during which he answered directly to the public demand and the wishes of his editor to compose music specifically Bohemian / Czech / Moravian tone , style, and to some extent, design. Slavic Three rhapsodies for orchestra, op. 45, 1878, are the largest demonstrations that financially rewarding musical vein.
The first of the three Slavonic Rhapsodies in D major, op. 45/1, was composed during February and March 1878 and therefore actually predates the Slavonic Dances; No. 2 in G minor and No. 3 in sun-flat major followed in the fall and early winter, respectively. The orchestra employed is quite large; the usual contingent of winds and strings is augmented by harp and percussion brigade of considerable size. The three pieces come together to form a cycle of classes, but almost never hear of them performed together as a whole.
The most memorable feature of the No. 1-march is the central episode, while No. 2 was distinguished by its many changes between 3.4 and 4.4. The third Slavonic Rhapsody opens with a harp solo whose substance is immediately absorbed by the wind instruments, and proceeds to explore a number of tunes of good character; seems to dissolve the grand climax elusively without a final resolution, but in the end two bright chords drawing the piece to the cadence that yearn
‘The Mundaneum, is an archive with more than 12 million index cards, created in 1910. A forerunner of the internet?? pic.twitter.com/E3DcbjwRco
— ✍ Bibliophilia (@Libroantiguo) August 24, 2014
From: Abbey Sharp
In this webisode Abbey Sharp from Abbey’s Kitchen will be learning how to identify edible mushrooms from poisonous ones as she explores a beautiful forest just outside the GTA in Ontario with a professional mushroom forager. She will teach you a little bit about the different varieties of mushrooms and which pack the biggest “umami” flavour punch. Join Abbey on her gastronomic adventure!
Abbey’s Kitchen webisode # 4
For the full series, see:
And follow Abbey:
**Quality – AAC, audio bitrate: 320kbps
Video MP4 – 348kbps
***Perhaps the most Beautiful piece of music is the 3rd movement. There is another version of it on YouTube, but it is in extremely low audio quality. With this recording, you can sometimes hear the performer’s clothes move, or his breathing, only slightly.
***If I enjoy the rest of the CD enough, I will upload the other 2 piano concertos.
*Change to 720p Video to get the a 192 kbps Audio Stream (the highest you can get on YouTube)
Liszt: The Piano Concertos; 3 Etudes de Concert
Études de concert (3), for piano, S. 144 (LW A118)
From Wikipedia, the free encyclopedia
Three Concert Études (Trois études de concert), S.144, are a set of three piano études by Franz Liszt, composed between 1845–49 and published in Paris as Trois caprices poétiques with the three individual titles as they are known today. As the title indicates, they are intended not only for the acquisition of a better technique, but also for concert performance. The Italian subtitles now associated with the studies – Il lamento (“The Lament”), La leggierezza (“Lightness”), Un sospiro (“A sigh”) – were not in early editions.
Il lamento is the first of Liszt’s Three Concert Études. Written in A-flat major, it is among the composer’s longest pieces in this genre. It starts with a four-note lyrical melody which folds itself through the work, followed by a Chopin-like chromatic pattern which reappears again in the coda section. Although this piece opens and ends in A-flat major, it shifts throughout its three parts to many other keys including A, G, B, D-sharp, F-sharp and B.
La leggierezza (meaning “lightness”) is the second of the Three Concert Études. It is a monothematic piece in F minor with a very simple melodic line in each hand under an unusual Quasi allegretto tempo marking, usually ignored in favour of something a bit more frenetic. It starts with a fast, but delicate sixteen chromatic-note arpeggio divided in thirds and sixths under an irregular rhythmic subdivision and cadenza so as to underline the light atmosphere of its title. The technical difficulties involved are fast passages of minor thirds in the right hand and light, but quick leggiero chromatic scales.
The third of the Three Concert Études is in D-flat major, and is usually known as Un sospiro (Italian for “A sigh”). However, it is likely that the title did not originate with Liszt. Although there is no evidence that he actively attempted to remove the subtitle, none of the editions or subsequent printings of the Three Concert Études published by Kistner during Liszt’s lifetime used them; he simply ignored such subtitles in later years, always referring to the piece by key.
The étude is a study in crossing hands, playing a simple melody with alternating hands, and arpeggios. It is also a study in the way hands should affect the melody with its many accentuations, or phrasing with alternating hands. The melody is quite dramatic, almost Impressionistic, radically changing in dynamics at times, and has inspired many listeners.
Un sospiro consists of a flowing background superimposed by a simple melody written in the third staff. This third staff—an additional treble staff—is written with the direction to the performer that notes with the stem up are for the right hand and notes with the stem down are for the left hand. The background alternates between the left and right hands in such a way that for most of the piece, while the left hand is playing the harmony, the right hand is playing the melody, and vice versa, with the left hand crossing over the right as it continues the melody for a short while before regressing again. There are also small cadenza sections requiring delicate fingerwork throughout the middle section of the piece.
Towards the end, after the main climax of the piece, both hands are needed to cross in an even more complex pattern. Since there are so many notes to be played rapidly and they are too far away from other clusters of notes that must be played as well, the hands are required to cross multiple times to reach dramatic notes near the end of the piece on the last page.
This étude, along with the other Three concert études, was written in dedication to Liszt’s uncle, Eduard Liszt (1817–1879), the youngest son of Liszt’s grandfather and the stepbrother of his own father. Eduard handled Liszt’s business affairs for more than thirty years until his death in 1879.
“Robin Williams was one of the people who actively fought for what he believed in (with the vast majority of people), and had the courage to make politicians to see their real reflection in the mirror of history…”
Franz Liszt wrote drafts for his Concerto for Piano and Orchestra No. 2 in A major, S.125, during his virtuoso period, in 1839 to 1840. He then put away the manuscript for a decade. When he returned to the concerto, he revised and scrutinized it repeatedly. The fourth and final period of revision ended in 1861. Liszt dedicated the work to his student Hans von Bronsart, who gave the first performance, with Liszt conducting, in Weimar on January 7, 1857.
|Society of Jesus|