Antonín Dvořák My Home
Czech Philharmonic Orchestra
Bohumil Gregor Conductor
Schumann : Symphony No. 1 in B flat major, Op. 38 “Spring”
Ernest Ansermet (Conductor)
Orchestre de la Suisse Romande
From Wikipedia, the free encyclopedia
Symphony No. 1 in B flat major, Op. 38 (“Spring”) was the first symphonic work composed by Robert Schumann. Although Schumann made some “symphonic attempts” in the autumn of 1840 soon after he married his beloved Clara Wieck, he did not compose his First Symphony until early 1841. Schumann sketched the symphony in four days from 23 January to 26 January and completed the orchestration by 20 February. The premiere took place under the baton of Felix Mendelssohn on 31 March 1841 in Leipzig. The symphony was warmly received. Until Schumann composed this symphony, he was largely known for his works for the piano and for voice. Clara encouraged him to write symphonic music. The title of “Spring Symphony” was bestowed upon it, according to Clara’s diary, because of the Spring poems of Adolph Boettger. However, Schumann himself said he was merely inspired by his Liebesfrühling (spring of love). The last movement of the symphony also uses the final theme of Kreisleriana, and therefore recalls the romantic and fantastic inspiration of this piano composition.
The symphony has four movements. They are marked:
- Andante un poco maestoso – Allegro molto vivace (B flat major)
- Larghetto (E flat major)
- Scherzo: Molto vivace – Trio I: Molto piu vivace – Trio II (G minor)
- Allegro animato e grazioso (B flat major)
The orchestration is for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns (2 in F, E-flat, and D, 2 in B-flat), 2 trumpets, 3 trombones, timpani, triangle and strings. Schumann especially expanded the use of timpani in this revolutionary piece. Schumann made some revisions until the definitive full-score of the symphony was published in 1853
wonderful composition: fluid, dripping like a light rainfall
“Miroirs” (Reflections) is a suite for solo piano written by French impressionist composer Maurice Ravel between 1904 and 1905, first performed by Ricardo Viñes in 1906.
Around 1900, Maurice Ravel joined a group of innovative young artists, poets, critics, and musicians referred to as Les Apaches or “hooligans”, a term coined by Ricardo Viñes to refer to his band of “artistic outcasts”. To pay tribute to his fellow artists, Ravel began composing Miroirs in 1904 and finished it the following year. Movements 3 and 4 were subsequently orchestrated by Ravel, while Movement 5 was orchestrated by Percy Grainger, among other.
Miroirs has five movements, each dedicated to a member of Les Apaches:
1. “Noctuelles” (“Night Moths”) – Dedicated to Léon-Paul Fargue, Noctuelles is a highly chromatic work, maintaining a dark, nocturnal mood throughout. The middle section is calm with rich, chordal melodies, and the recapitulation takes place a fifth below the first entry.
2. “Oiseaux tristes” (“Sad Birds”) – Dedicated to Ricardo Viñes, this movement represents a lone bird whistling a sad tune, after which others join in. The rambunctious middle section is offset by a solemn cadenza which brings back the melancholy mood of the beginning.
3. “Une barque sur l’océan” (“A boat on the Ocean”) – Dedicated to Paul Sordes, the piece recounts a small boat as it sails upon the waves of the ocean. Arpeggiated sections and sweeping melodies imitate the flow of ocean currents. It is the longest piece of the set, and, with the exception of Alborada del Gracioso, the most technically difficult.
4. “Alborada del gracioso” (“The Gracioso’s Aubade”) – Dedicated to Michel-Dimitri Calvocoressi, Alborada is a technically challenging piece that incorporates Spanish musical themes into its complicated melodies.
5. “La vallée des cloches” (“The Valley of Bells”) – Dedicated to Maurice Delage, the piece evokes the sounds of various bells through its use of sonorous harmonies.
Pianist: Jean-Efflam Bavouzet
WOLFGANG AMADEUS MOZART « – » « Rondo in A Minor, K. 511 »
Performer(s): « Artur Schnabel »
Album : « Mozart: Concertos et Sonatas for piano, Vol 5 »
As technology has evolved over the past two centuries, so have our expectations about privacy. This new digital world allows us to connect with each other with increasing ease, but it has also left our personal information readily available, and our privacy vulnerable. Cultural norms have pushed us all online, seemingly at the mercy of whatever terms of service are put before us. Cookies and tracking allow companies to collect limitless amounts of information about us, often more than we’d share with family and friends. And in the push for national security, the government has collected vast amounts of information as well, often without our knowledge. With the NSA leak reigniting this important debate, we take a closer look at the state of privacy in the digital age.
Robert Ellis Smith, Roger Williams University School of Law
Helen Nissenbaum, NYU
Julian Sanchez, Cato Institute
1) “The League of Artificial Intelligence Theme” by T.W.A.S. Soundlab – https://soundcloud.com/tws-soundlab
2) “The Final Rewind” by Tryad –http://www.jamendo.com/en/track/6568/…
3) “CyberDreams” by Mindthings –http://freemusicarchive.org/music/min…
4) “July.#04” by Arizono Kazuhiro –http://freemusicarchive.org/music/ari…
5) “The beginning” by Fabrizio Brugnera –http://www.jamendo.com/en/track/71069…
6) “On my terms” by Azoora –http://www.jamendo.com/en/track/32637…
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Posted in Educational, FILM, Health and Environment, IN THE SPOTLIGHT, MEMORIES, MY TAKE ON THINGS, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Uncategorized
Tagged cato institute, cultural norms, helen nissenbaum, roger williams university, roger williams university school of law, space photography
August 1, 2013—Though EEG (Electroencephalography) has been around for decades, now, new technology allows us to detect and measure brain activity with a lightweight headset and mobile phone. National Geographic Emerging Explorer and entrepreneur Tan Le demonstrates how her company’s EEG headset and software can be used for a variety of research purposes.
Read the article from National Geographic News:
From sports to art to personal interests, obsessions commonly drive the way Americans think, act and relate to the world and the people around them. But these obsessions may be a little out of the ordinary.