Category Archives: MY TAKE ON THINGS

Brahms: Symphony No.4 in E minor – Bernstein / Wiener Philharmoniker: great compositions/performances


Brahms: Symphony No.4 in E minor – Bernstein / Wiener Philharmoniker

Johannes Brahms: Symphony No.4 in E minor, Op.98

I. Allegro non troppo (00:00)
II. Andante moderato (13:33)
III. Allegro giocoso (27:19)
IV. Allegro energico e passionato (33:47)

Wiener Philharmoniker
Leonard Bernstein, conductor

(September 8, 1988, Luzern)

Saint of the Day for Monday, September 1st, 2014: St. Giles, Abbot


Image of St. Giles, Abbot

Tomb of Saint Beatrice of Silva Menezes in Tol...

Tomb of Saint Beatrice of Silva Menezes in Toledo, Spain. (Photo credit: Wikipedia)

St. Giles, Abbot

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

More Saints of the Day

quotation: W. Somerset Maugham: “In the country the darkness of night is friendly and familiar, but in a city…”


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.

W. Somerset Maugham (1874-1965) Discuss

Andsnes: Grieg Lyric Pieces Op 65, Wedding Day – Leif Ove Andsnes, piano: make music part of your life series


Andsnes: Grieg Lyric Pieces Op 65, Wedding Day

Francisco Tarrega – Recuerdos de la Alhambra (Emmanuel Rossfelder): make music part of your life series


Francisco TarregaRecuerdos de la Alhambra (Emmanuel Rossfelder)

The time starts now, poetic thought by George-B (the smudge and other poems)


The time starts now, poetic thought by George-B

A time to learn
And a time to forget,
and a time to remember
That you’ve been forgotten…

A time to reach out
and a time to coil in,
Curled inside your shell,
For a quality time with the universe…

A time to explain
and a time to accept that objection is the only way to make
a difference,
and then to go and take a skinny deep in the nearest Jacuzzi…

A time to address the rest of us
in unerasable communication,
even if no one’s aware,
for a thousand years…

A time to enjoy not having a bucket list,
or any form of other regrets,
or sympathies,
or likes and dislikes that hurt like frost,
or burning coal at the feet…
you will meet your limb again somewhere in time,
in the past, or future:

The time starts now (start whistle here 3,2,1, NOW!)

©Always, by George-B

Franz Schubert – Symphony No.2 in B-flat major, D.125 (1815): make music part of your life series



***from  KuhlauDilfeng2  KuhlauDilfeng2

Franz SchubertSymphony No.2 in B-flat major, D.125 (1815)

***Picture: Carlo Bossoli – Abendliches Vergnügen vor den Toren Konstantinopels

***Franz Schubert:  Symphony No.2 in B-flat major, D.125 (1815)

Mov.I: Largo – Allegro vivace 00:00
Mov.II: Andante 14:07
Mov.III: Menuetto: Allegro vivace 22:20
Mov.IV: Presto vivace 25:32

***Orchestra: Failoni Orchestra
***Conductor: Michael Halász

In the opening movement, the initial theme of the Allegro vivace is based on the corresponding first theme of Ludwig van Beethoven’s overture to The Creatures of Prometheus.

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:

List of compositions by Franz Schubert by genre

Adoramus Te (Giovanni Pierluigi da Palestrina): a prayer for Ukraine



from

Adoramus Te (Giovanni Pierluigi da Palestrina)

“Adoramus Te” by Giovanni Pierluigi da Palestrina. Performed by the Crown College Choir, directed by Dr. David W. Donelson.

“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.”

Ми тебе обожнюю, Христе,
benedicimus ET Тібі,
Quia Туам вашим Святого Хреста redemisti Mundum.
Квай passus є про Нобіс, Domine,
Domine, Miserere NOBIS.

(translated by Google Translate)

quotation: Fyodor Dostoyevsky, “One can know a man from his laugh…”


One can know a man from his laugh, and if you like a man’s laugh before you know anything of him, you may confidently say that he is a good man.

Fyodor Dostoyevsky (1821-1881) Discuss

Bedřich Smetana – Ma Vlast – Vltava “Moldau” – EMH Classical Music: make music part of your lifr series



from

Bedřich Smetana – Ma Vlast – Vltava “Moldau” – EMH Classical Music

http://www.EMHClassicalMusic.com
http://www.Facebook.com/EMHClassicalMusic
http://www.Twitter.com/EMHClassical

Chopin Variations Op 2 (1-2) HQ, valentina Lisitsa: great compositions/performances



from   ValentinaLisitsa  ValentinaLisitsa

Chopin Variations Op 2 (1-2) HQ

Valentina Lisitsa, Black & Pink DVD.”La ci darem la mano”

Andante For Flute in C Major Mozart, James Galway At Lincoln Center 1980: great compositions/performances


Andante For Flute in C Major Mozart

Robert Schumann : Arabesque Op.18 in C Major, Piano – Thurzo Zoltan: make music part of your life series


Robert Schumann : Arabesque Op.18 in C Major

Robert Schumann : Arabesque Op.18 in C Major
Piano – Thurzo Zoltan
Recorded at the Partium University – Oradea -Romania
Video Mastering : Balajti Robert

from Wikipedia:


Oradea, mai demult Oradea
Mare, (în maghiară Nagyvárad, în germană Großwardein, în idiș גרויסווארדיין Groysvardeyn, în latină Magnovaradinum

Beethoven – Symphony No. 3 in E flat major (Op. 55) Eroica Berliner Philharmoniker: make music part of your life series


Beethoven – Symphony No. 3 in E flat major (Op. 55) Eroica Berliner Philharmoniker

Ludwig van Beethoven Symphony No. 3 in E flat major (Op. 55):
Berliner Philharmoniker

Symphony No. 3 in E flat major (Op. 55), is a landmark musical work marking the full arrival of the composer’s “middle-period,” a series of unprecedented large scale works of emotional depth and structural rigor.
The symphony is widely regarded as a mature expression of the classical style of the late eighteenth century that also exhibits defining features of the romantic style that would hold sway in the nineteenth century. The Third was begun immediately after the Second, completed in August 1804, and first performed 7 April 1805.
Instrumentation
The symphony is scored for 2 flutes, 2 oboes, 2 clarinets in B flat, 2 bassoons, 3 horns in E flat, 2 trumpets in E flat and C, timpani in E flat and B flat, and strings.
Form
The piece consists of four movements:
1. Allegro con brio
2. Marcia funebre: Adagio assai in C minor
3. Scherzo: Allegro vivace
4. Finale: Allegro molto

Mozart: Trio for Clarinet, Viola and Piano, K.498 – Portal, Pasquier, Pennetier: great compositions/performances



From   glemoine14  glemoine14

Mozart: Trio for Clarinet, Viola and Piano, K.498 – Portal, Pasquier, Pennetier

Wolfgang Amadeus Mozart (1756-1791):Trio for Clarinet, Viola and Piano in E-flat major, “Kegelstatt”, K. 498 (1786)
Trio pour clarinette, alto et piano en Mi bémol majeur
I      Andante;
II    Menuetto;
III  Rondo: Allegretto

Portal: clarinet / clarinette
Pasquier: viola / alto
Pennetier: piano

Saint of the Day for Wednesday, August 27th, 2014: St. Monica


Image of St. Monica

St. Monica

St. Monica was married by arrangement to a pagan official in North Africa, who was much older than she, and although generous, was also violent tempered. His mother Lived with them and was equally … continue reading

More Saints of the Day

quotation: I see heaven’s glories shine and faith shines equal… Emily Bronte


I see heaven’s glories shine and faith shines equal…

Emily Bronte (1818-1848) Discuss

GoogleArtProject: Access here and from the new euzicasa WIDGET – take a virtual museum tour today


Google Cultural Institute_ Virtual Art Museums tours
Click here to access and select a virtual museum tour

Saint of the Day for Tuesday, August 26th, 2014: St. Teresa of Jesus Jornet Ibars


quotation: George Eliot (on the uplifting role of music)


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.

George Eliot (1819-1880) Discuss

today’s birthday: Julio Cortázar (1914) “French: a culture of inclusion”


 

Français : Plaque commémorative, 4 rue Martel,...

Français : Plaque commémorative, 4 rue Martel, Paris 10 e . « Ici vécut Julio Cortázar, 1914-1984, écrivain argentin naturalisé français, auteur de Marelle. » (Photo credit: Wikipedia)

Julio Cortázar (1914)

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

this day in the yesteryear: Pope John Paul I Elevated to Papacy (1978)


Pope John Paul I Elevated to Papacy (1978)

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

Led Zeppelin – Immigrant Song (Live Video) : make music part of your life series



from

Led Zeppelin – Immigrant Song (Live Video)


“Immigrant Song”

Ah, ah,

We come from the land of the ice and snow,

From the midnight sun where the hot springs flow.

The hammer of the gods will drive our ships to new lands,

To fight the horde, singing and crying: Valhalla, I am coming!On we sweep with threshing oar, Our only goal will be the western shore.

Ah, ah,
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.

Led Zeppelin – Whole Lotta Love [HD]: ‘Best guitar rift': make music part of your life series


Led ZeppelinWhole Lotta Love

© Warner Brothers
© WMG
Live in New York 73

From Wikipedia, the free encyclopedia

“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
Format 7″ single
Recorded May 1969
Genre
Length 5:34 (album version)
5:33 (single, 1st pressings)
3:10 (single, 2nd pressings)
Label Atlantic
Writer(s)
Producer(s) Jimmy Page
Certification Gold
Led Zeppelin singles chronology
Good Times Bad Times” / “Communication Breakdown
(1969)
“Whole Lotta Love” / “Living Loving Maid (She’s Just a Woman)”
(1969)
Immigrant Song” / “Hey Hey What Can I Do
(1970)
Alternative cover
Led Zeppelin II track listing
  “Whole Lotta Love”
(1)
What Is and What Should Never Be
(2)
Music sample
 
Menu
 
0:00

“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.[4] 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.[1] 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).

Song construction

The song is in compound AABA form.[5] Page played the loose blues riff for the intro, on a Sunburst 1958 Les Paul Standard guitar[6] through a Vox Super Beatle,[citation needed] 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.”[7]

Led Zeppelin’s bass player John Paul Jones has stated that Page’s famous riff probably emerged from a stage improvisation during the band’s playing of “Dazed and Confused“.[8]

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.

Page (sarcastically): Oh, good. I hope it was that Rough Guide. That’s the latest one, the most inaccurate. They’re all inaccurate, you know.[9]

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.[10]

For this track, Page employed the backwards echo production technique.[11]

 

ANTONIN DVORAK.- Rhapsody en Re mayor Op. 45 Nº1: great compositions/performances



From Carlos Garcia Carlos Garcia

ANTONIN DVORAK.- Rhapsody en Re mayor Op. 45 Nº1

ANTONIN DVORAK.-
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
Estilo Romantic

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

Shostakovich: Ballet Suite No. 4: make music par of your life series


Shostakovich: Ballet Suite No. 4

The Queer Urban Orchestra, under the direction of Nolan Dresden, performs Dmitri Shostakovich’s Ballet Suite No. 4 at our Mysterium concert, March 20, 2011. The work is in three movements:
I – Introduction and Variations;
II – Waitz; and
III – Scherzo.

WEBER Clarinet Concerto No.2 – B.Goodman, J.Martinon, 1967 *vinyl remaster* [HD]: great compositions/performances



From:   Emilio Pessina

WEBER Clarinet Concerto No.2B.Goodman, J.Martinon, 1967 *vinyl remaster* [HD]

Cropped screenshot of Benny Goodman from the f...

Cropped screenshot of Benny Goodman from the film Stage Door Canteen. (Photo credit: Wikipedia)

Carl Maria von WEBER: Clarinet Concerto No.2 in E flat major, J.118 / Op.74 (1811)
0:04 / I. Allegro [8'38'']
8:48 / II. Andante con moto [6'42'']
15:39 / III. Alla polacca [6'46'']
Benny Goodman, clarinet
Chicago Symphony Orchestra
Jean Martinon, conductor
(rec: 1967 – RCA SAR22043 26.41149 (p)1968)
transfer / remaster: Emilio Pessina, 2013
_______________________________________
Benny GOODMAN plays classical:
http://www.youtube.com/playlist?list=…
_______________________________________
(c) COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

‘The Mundaneum, is an archive with more than 12 million index cards, created in 1910. (Bibliophilia (@Libroantiguo) August 24, 2014)


sant, sant, sant… cugetare poetica de George-B ©Always ( The smudge and other poems)


sant, sant, sant… cugetare poetica de George-B ©Always

Sant capitanul  barcii
Care nu mai ia apa,
ca apa i-a trecut de mult peste cap…

Sant subacvatic, fara sa fi fost un submarin-plutesc intre ape
Din adancuri  bradisul ma tine pe umeri, ma leagana si-mi canta-
Sant doar un vis, acum,
cu barca far-de vasle, si apa rece la inceput de seara tomnateca,
ma misca, si ma frînge.

Fara busola,
fara compass,
privesc bulele de gaz ce se ridica din adancul verde…
printre brotacii noi sant doar un capitan pribeag,
sortit sa fie intre ape, nici jos pe fund, nici pe la aer…
doar asa, ca un suspin, intre ape grele si usoare,
de la amiaza pana-n luna plina,
sant, sant, sant…

Itzhak Perlman – Pablo de Sarasate, Zigeunerweisen Op.20: great compositions/performances


Itzhak Perlman – Pablo de Sarasate, Zigeunerweisen Op.20

Itzhak Perlman Violine
Pablo de Sarasate, Zigeunerweisen Op.20

Arthur Sullivan – The Mikado – Overture: make music part of your life series



FROM: Fledermaus1990 Fledermaus1990

Arthur Sullivan – The Mikado – Overture

Conductor: John Carewe
Orchestra: Nürnberger Symphoniker

Saint of the Day for Saturday, August 23rd, 2014: St. Philip Benizi


Image of St. Philip BeniziSt. Philip Benizi

Servite cardinal and preacher. Born in Florence, Italy, to a noble family, he was educated in Paris and Padua where he earned a doctorate in medicine and philosophy. He practiced medicine for some … continue reading

More Saints of the Day

quotation: The highest possible stage in moral culture is when we recognize that we ought to control our thoughts. Charles Darwin


The highest possible stage in moral culture is when we recognize that we ought to control our thoughts.

Charles Darwin (1809-1882) Discuss

My Mushroom Foraging Adventure: Abbey’s Kitchen Learns How To Find Edible Mushrooms in the Forest



From:  Abbey Sharp   Abbey Sharp

My Mushroom Foraging Adventure: Abbey’s Kitchen Learns How To Find Edible Mushrooms in the Forest

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:
http://www.abbeyskitchen.com

And follow Abbey:

@AbbeysKitchen
http://www.facebook.com/abbeys-kitchen
http://www.pinterest.com/abbeyskitchen
http://www.instagram.com/abbeyskitchen

this pressed from Washington Post: The people designing your cities don’t care what you want. They’re planning for hipsters. – The Washington Post


The people designing your cities don’t care what you want. They’re planning for hipsters. – The Washington Post.

Fryderyk Chopin, Scherzo E-dur Op.54 nr 4, Barbara Hesse-Bukowska,1954: great compositions/performances



From:  Czarmuzyki Ewa Chamiec

Fryderyk Chopin, Scherzo E-dur Op.54 nr 4, Barbara Hesse-Bukowska,1954

(Fryderyk Chopin, Scherzo E-dur Op.54 nr 4, Barbara Hesse-Bukowska –1954! — Archiwum Polskiego Radia.)

Dvořák Humoresque Yo Yo Ma, Itzhak Perlman: great compositions/performances



From:  Silvio Finotti  Silvio Finotti

Dvořák Humoresque Yo Yo Ma, Itzhak Perlman, Boston Symphony Orchestra / Seiji Ozawa

Études de concert (3), for piano, S. 144 – Claudio Arrau – HD: great compositions/performances



FROM:

hellsan631    hellsan631

Études de concert (3), for piano, S. 144 – Claudio Arrau – HD

Includes all 3 movements. Taken from “Liszt: The Piano Concertos; 3 Etudes de Concert (1976)”

1. Il lamento  0:00 to 10:40

2. La leggierezza  10:50 to 16:16

3. Un sospiro  16:24 to 22:28

**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.

Credits:
Franz Liszt
Claudio Arrau (Piano)
Recorded in London England, November of 1976
Philips Classics

*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)

MQ0001081958
MC0002358753
F 2049358
C 11442


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.[1] 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.[2]

Étude No. 1, Il lamento

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.[1]

Étude No. 2, La leggierezza

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.[3] 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.[3] The technical difficulties involved are fast passages of minor thirds in the right hand and light, but quick leggiero chromatic scales.

Étude No. 3, Un sospiro

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.

In film

Brahms viola sonata op. 120 no. 2 in E flat major: great compositions/performances



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Brahms viola sonata op. 120 no. 2 in E flat major

Piano: Daniel Barenboim
Viola: Pinchas Zukerman
Be apart of my Facebook page! http://www.facebook.com/Blop888

From Wikipedia, the free encyclopedia

The viola sonata is a sonata for viola, sometimes with other instruments, usually piano. The earliest viola sonatas are difficult to date for a number of reasons:

  • in the Baroque era, there were many works written for the viola da gamba, including sonatas (the most famous being Johann Sebastian Bach‘s three, now most often played on the cello)
  • in the Classical era and early Romantic, there were few works written with viola specifically in mind as solo instrument, and many of these, like those of the Stamitz family, may have been written for the viola d’amore, like most of their viola works – though it is now customary to play them on the viola; it was more typical to publish a work or set, like George Onslow‘s opus 16 cello sonatas, or Johannes Brahms‘s opus 120 clarinet sonatas in the late 19th century, that specified the viola as an alternate. Two early exceptions were the viola sonatas of Felix Mendelssohn (1824, posthumously published around 1981) and the opus 1 sonata of the composer Ernst Naumann (1832-1910), published in 1854.

just a thought: Robin Williams


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…”

this pressed at EUZICASA: from Encyclopédie Larousse en ligne – préhistoire


 

Encyclopédie Larousse en ligne – préhistoire.

this pressed: from lovepanky – How to Love Someone without Smothering Them – Lovepanky


Embedded image permalinkHow to Love Someone without Smothering Them – Lovepanky.

or ⇒ Don’t pass the onion please!

A la découverte de l’encyclopédie Larousse (access here)


A la découverte de l'encyclopédie Larousse

A la découverte de l’encyclopédie Larousse (access here)

Henrik Chaim Goldschmidt plays “Gabriel’s Oboe” : great compositions/performances


Henrik Chaim Goldschmidt plays “Gabriel’s Oboe

The oboist Henrik Chaim Goldschmidt plays Ennio Morricone’s “Gabriel’s Oboe” with The Faroe Islands Philharmonic Orchestra, 10.01.2009

http://www.singh-goldschmidt.dk

Wolfgang Amadeus Mozart – Twelve Variations “Ah, vous dirai-je, maman” (Piano Solo): make music part of your life series



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steven960929   steven960929

Wolfgang Amadeus Mozart – Twelve Variations “Ah, vous dirai-je, maman” (Piano Solo)

Twelve Variations on “Ah vous dirai-je, Maman”, K. 265/300e, is a piano composition by Wolfgang Amadeus Mozart, composed when he was around 25 years old (1781 or 1782). This piece consists of twelve variations on the French folk song “Ah! vous dirai-je, Maman”. The French melody first appeared in 1761, and has been used for many children’s songs, such as “Twinkle Twinkle Little Star”, “Baa, Baa, Black Sheep” and the “Alphabet Song“.

JOHN BARRY: “GIVE ME A SMILE”: make music part of your life series


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John Dunlea    John Dunlea


JOHN BARRY:   “GIVE ME A SMILE”
(A tribute to the musical genius of John Barry)

what was that tune again?…Leroy Anderson’S The Typewriter (Voces para La Paz- La Paz Symphony Orchestra): make music part of your life series


Typewriter symphony Orchestra

The Typewriter, by Leroy Anderson

Liszt Concerto #2 file1 Valentina Lisitsa (audio): great compositions/performances


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Liszt Concerto #2 file1 Valentina Lisitsa (audio)

From Wikipedia, the free encyclopedia

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.

Form

This concerto is one single, long movement, divided into six sections that are connected by transformations of several themes:

  • Adagio sostenuto assai

    The key musical idea of this concerto comes at the beginning. Quietly yet confidently, half a dozen woodwinds, no more than five at a time, play a sequence of two chords—an A major chord with a C sharp on top, then a dominant seventh on F natural. The first chord sounds very ordinary. The second opens possibilities unhinted by what preceded it. One note connects the two chords—an A. This sequence sounds colorful and strange yet inevitable and easily grasped.

  • Allegro agitato assai

    This is technically the scherzo of the piece. It starts in B-flat minor and ends in C-sharp minor.

  • Allegro moderato

    This section contains a great deal of lyricism and proceeds at an unhurried pace. Among its charms is a metamorphosis of the opening theme, played by solo cello while accompanied by the piano, showing the influence of Italian bel canto on Liszt’s work.

  • Allegro deciso

  • Marziale un poco meno allegro

    Yet another transformation of the gentle opening theme, this movement has also nearly always been attacked as vulgar and a betrayal of both the initial character of this theme and the concerto on the whole. American musicologist Robert Winter disagreed. He called the march “a masterstroke that demonstrates the full emotional range of thematic transformation.”[1] The march contains the force and weight needed to reestablish the home key of A major, from which the music has been moving quite far since the concerto opened.

  • Allegro animato

Elevazione – Adagio para oboé violoncelo, orquestra de cordas e orgão. Domenico Zipoli: make music part of your life series


Elevazione – Adagio para oboé violoncelo, orquestra de cordas e orgão. Domenico Zipoli

 FROM

Recital de formatura em oboé. Oboé: Lília Reis; Cello: Rodolpho Borges.
Escola de Música de Brasília. 10/09/2009.

From Wikipedia, the free encyclopedia
Domenico Zipoli (17 October 1688 – 2 January 1726) was an Italian Baroque composer who worked and died in Córdoba (Argentina). He became a Jesuit in order to work in the Reductions of Paraguay where his musical expertise contributed to develop the natural musical talents of the Guaranis. He is remembered as the most accomplished musician among Jesuit missionaries.

Early training and career

Zipoli was born in Prato, Italy, where he received elementary musical training. However, there are no records of him having entered the cathedral choir. In 1707, and with the patronage of Cosimo III, Grand Duke of Tuscany, he was a pupil of the organist Giovani Maria Casini in Florence. In 1708 he briefly studied under Alessandro Scarlatti in Naples, then Bologna and finally in Rome under Bernardo Pasquini. Two of his oratorios date to this early period: San Antonio di Padova (1712) and Santa Caterina, Virgine e martire (1714). Around 1715 he was made the organist of the Church of the Gesù (a Jesuit parish, the mother church for The Society of Jesus), in Rome, a prestigious post. At the very beginning of the following year, he finished his best known work, a collection of keyboard pieces titled Sonate d’intavolatura per organo e cimbalo.

Jesuit musician-missionary

For reasons that are not clear, Zipoli travelled to Sevilla, Spain, in 1716, where, on 1 July, he joined the Society of Jesus with the desire to be sent to the Reductions of Paraguay in Spanish Colonial America. Still a novice, he left Spain with a group of 53 missionaries who reached Buenos Aires on 13 July 1717.

He completed his formation and sacerdotal studies in Cordoba (in contemporary Argentina) (1717–1724) though, for the lack of an available bishop, he could not be ordained priest. All through these few years he served as music director for the local Jesuit church. Soon his works came to be known in Lima, Peru. Struck by an unknown infectious disease, Zipoli died in the Jesuit house of Cordoba, on 2 January 1726. A previous theory placing his death in the ancient Jesuit church of Santa Catalina, in the hills of the Province of Córdoba (Argentina), has now been discredited. His burial place has never been found.

Legacy

Zipoli continues to be well known today for his keyboard music. His Italian compositions have always been known but recently some of his South American church music was discovered in Chiquitos, Bolivia: two Masses, two psalm settings, three Office hymns, a Te Deum laudamus and other pieces. A Mass copied in Potosí, Bolivia in 1784, and preserved in Sucre, Bolivia, seems a local compilation based on the other two Masses. His dramatic music, including two complete oratorios and portions of a third one, is mostly gone. Three sections of the ‘Mission opera’ San Ignacio de Loyola – compiled by Martin Schmid in Chiquitos many years after Zipoli’s death, and preserved almost complete in local sources – have been attributed to Zipoli.

Society of Jesus
The JHS or IHS monogram of the name of Jesus (...

The JHS or IHS monogram of the name of Jesus (or traditional Christogram symbol of western Christianity), derived from the first three letters of the Greek name of Jesus, Iota-Eta-Sigma (ΙΗΣΟΥΣ). Partly based on memories of church decorations. Has some degree of resemblance to a portion of the emblem of the Jesuits, due to common medieval influences (see Feast of the Holy Name of Jesus), but is not exactly the same, nor intended to be so. (Photo credit: Wikipedia)

History of the Jesuits
Regimini militantis
Suppression

Jesuit Hierarchy
Superior General
Adolfo Nicolás

Ignatian Spirituality
Spiritual Exercises
Ad majorem Dei gloriam
Magis

Notable Jesuits
St. Ignatius of Loyola
St. Francis Xavier
St. Peter Faber
St. Aloysius Gonzaga
St. Robert Bellarmine
St. Peter Canisius
St. Edmund Campion
Pope Francis

 

 

Ottorino Respighi – Three Botticelli Pictures: grest compositions/performances


Ottorino Respighi – Three Botticelli Pictures

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