Mozart – Flute and Harp Concerto in C, K. 299 The Concerto for Flute, Harp, and Orchestra in C major, K. 299 is a piece by Wolfgang Amadeus Mozart for flute, harp, and orchestra. It is one of only two true double concertos that he wrote, as well as the only piece of music that Mozart wrote that contains the harp. The piece is one of the most popular such concerti in the repertoire, as well as often being found on recordings dedicated otherwise to either one of its featured instruments. The concerto was written in April 1778 by Mozart during his sojourn to Paris for the Court of Guînes. It was commissioned (although never paid for) from Mozart, by the flautist Duke of Guînes, Adrien-Louis de Bonnières, and his harpist daughter who was taking composition lessons from the composer. The soloists in the piece will sometimes play with the orchestra, and at other times perform as a duo while the orchestra is resting. The flute and harp alternate having the melody and accompanying lines. In some passages, they also create counterpoint with just each other. Mozart concertos are standard in how they move harmonically, as well as that they adhere to the three-movement form of fast–slow–fast: I. Allegro The orchestra states both themes. The first is immediately present, and the second is introduced by the horn. Both themes fall under the conventional sonata form. The soli then re-work the already present themes. I. Andantino The short phrases in this movement are introduced by the strings, and become lyrically extended. This further develops into variations on the theme. The cadenza in this movement leads to a coda, where the orchestra and soli focus on the lyrical theme. III. Rondeau — Allegro The harmonic form is: A–B–C–D–C–B–{cadenza}–A(coda). Some music theorists feel that this is actually more of an arch than a typical rondo form, because music from the A section is still audible in the C and D sections. —————————————-————————————- FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
A major shaper of 20th-century poetry, Pound was one of the most famous and controversial modern literary figures—praised as a subtle and complex poet, dismissed as a naive egotist and pedant, and condemned as a traitor and reactionary. He was a founder of the imagist poetry movement, an editor of several periodicals, and a mentor to many noted writers of his day. Arrested for treason in 1945, he was deemed insane and committed. What did he write during his 12 years in a US mental institution? More…Discuss
A technology start-up working to create a computer system that works like a human brain says it has developed software that can crack CAPTCHAsbetween 90 and 97 percent of the time. CAPTCHAs—Completely Automated Public Turing tests to tell Computers and Humans Apart—are random words or letters displayed in a camouflaged and distorted fashion to ensure that a human is making an online transaction rather than a computer. Turing testsare intended to test a computer’s capacity for human-like thought and are seen as a measure of artificial intelligence. More…Discuss
In human courtship, a grimace is not generally something one wants to see from a potential love interest. Not so with animals. Cats, horses, llamas, and giraffes are just some of the animals that exhibit the flehmen response, a grimace-like curling of the upper lip and extension of the neck that facilitates the detection of scents—and pheromones—through the vomeronasal organ located in the roof of the mouth. Where does the name “flehmen” come from? More…Discuss
“One Tin Soldier” is a 60s era anti-war song written by Dennis Lambert and Brian Potter. The Canadian pop group Original Caste first recorded the song in 1969. The track briefly reached limited popularity locally and reached Number 34 on the American pop charts in early 1970.
“One Tin Soldier” tells the abstract story of a hidden treasure and two neighboring peoples, the Mountain People and the Valley People. The Valley People are aware of a treasure on the mountain, buried under a stone; they send a message to the Mountain People demanding those riches. When told they can share the treasure, the Valley People instead decided to take it all by force. After killing all the Mountain People, the victors move the stone and find nothing more than a simple message: “Peace on Earth.” Ironically, the valley people destroyed the treasure in pursuit of it.
The Billy Jack connection: Jinx Dawson of the band Coven sang the song at a 1971 session with the film’s orchestra as part of the soundtrack for the Warner Brothers movie Billy Jack. Jinx asked that her band, Coven, be listed on the recording and film, not her name as a solo artist. This Warner release, titled as “One Tin Soldier: The Legend of Billy Jack,” reached #17 on Billboard’s Hot 100 in fall 1971, only to be pulled from the charts as it was moving up by the Billy Jack film producers due to legal squabbles over the rights to the recording. The full Coven band then reluctantly re-recorded the song for their MGM album. Thus the MGM album containing a second version of this song displayed their whited-out faces on the cover, contrived again by the film’s producer Tom Laughlin. The recording then hit the charts again in both 1973 and 1974 near the end of the Vietnam War and the release of the film The Trial of Billy Jack. The Coven recording was named Number One All Time Requested Song in 1971 and 1973 by the American Radio Broadcasters Association. A slightly different version recorded by Guy Chandler (titled “One Tin Soldier (The Legend of Billy Jack)”) charted in summer 1973 (Wikipedia).
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Daddy was a cop On the east side of Chicago Back in the U S A Back in the bad old days In the heat of a summer night In the land of the dollar bill When the town of Chicago died And they talk about it still When a man named Al Capone Tried to make that town his own And he called his gang to war With the forces of the law I heard my mama cry I heard her pray the night Chicago died Brother what a night it really was Brother what a fight it really was, glory be I heard my mama cry I heard her pray the night Chicago died Brother what a night the people saw Brother what a fight the people saw, yes indeed And the sound of the battle rang Through the streets of the old east side ‘Til the last of the hoodlum gang Had surrendered up or died There was shouting in the street And the sound of running feet And I asked someone who said ‘Bout a hundred cops are dead I heard my mama cry I heard her pray the night Chicago died Brother what a night it really was Brother what a fight it really was, glory be I heard my mama cry I heard her pray the night Chicago died Brother what a night the people saw Brother what a fight the people saw, yes indeed Then there was no sound at all But the clock upon the wall Then the door burst open wide And my daddy stepped inside And he kissed my mama’s face And he brushed her tears away The night Chicago died The night Chicago died Brother what a night the people saw Brother what a fight the people saw, yes indeed The night Chicago died The night Chicago died Brother what a night it really was Brother what a fight it really was, glory be
The songs for voice and piano by George Walker are among the finest written by an American composer and are “as outstanding as they are varied” according to Fanfare Magazine. Modus for Chamber Ensemble was commissioned by the Cygnus Ensemble. It received its premiere in New York in March, 2001. The four movements are characterized by recurring motives and highly rhythmical sections of great intensity. The title, Modus, refers to the elegant techniques used to transform and unify the movements. The Prayer for Organ was composed in 1996, 50 years after Walker’s famous Lyric for Strings, a memorial to his grandmother, was written. The similarity between these two works lies in the use of contrapuntal techniques. The Improvisation on St. Theodulph is a fantasia on the melody stated before the work begins. The Prayer and the Improvisation were commissioned by the regional chapter of the American Guild of Organists in Washington, D.C. Spires was commissioned for performance by Dr. Mickey Thomas Terry at the Convention in Denver of the National Chapter of the American Guild of Organists in 1998.
Contents: George Walker, composer In Time of Silver Rain Patricia Green, mezzo-soprano, George Walker, piano
George Walker, composer I Never Saw A Moor Patricia Green, mezzo-soprano, George Walker, piano
George Walker, composer Mother Goose Patricia Green, mezzo-soprano, George Walker, piano
George Walker, composer Response Patricia Green, mezzo-soprano, George Walker, piano
George Walker, composer Softly, Blow Lightly Patricia Green, mezzo-soprano, George Walker, piano
George Walker, composer Wild Nights Patricia Green, mezzo-soprano, George Walker, piano
George Walker, composer Mary Wore Three Links of Chain Patricia Green, mezzo-soprano, George Walker, piano
George Walker, composer Modus for Chamber Ensemble Tara O’Connor, flute, Robert Ingliss, oboe, William Anderson, guitar, Oren Fader, guitar, Calvin Wiersma, violin, Susannah Chapman, cello
Franz Liszt, composer Sonetto del Petrarca 104 George Walker, piano
Franz Liszt, composer Valse Oubliee No. 1 George Walker, piano
Frederic Chopin, composer Mazurka in C, op. 33, no. 2 George Walker, piano
Frederic Chopin, composer Mazurka in D flat, op. 30, no. 3 George Walker, piano
Frederic Chopin, composer Mazurka in f minor, op. 63, no. 2 George Walker, piano
Frederic Chopin, composer Etude in G flat, op. 10, no. 5 George Walker, piano
Frederic Chopin, composer Scherzo in E, op. 54 George Walker, piano
George Walker, composer Prayer Trent Johnson, organ
George Walker, composer Improvisation on St. Theodulph Trent Johnson, organ
George Walker, composer Spires Trent Johnson, organ
A “musical tableau” for orchestra by Russian composer and chemist Alexander Borodin (1833-1887), a member of the group of composers known as The Five, or the Mighty Handful. The work was originally intended to celebrate the silver anniversary of the reign of Czar Alexander II, who had expanded the domain of Imperial Russia eastward into Central Asia. The celebration never came to fruition due to the assassination of the Czar; instead the piece was premiered in a concert in 1880 by Nikolai Rimsky-Korsakov and the orchestra of the Russian Opera. Borodin dedicated it to Franz Liszt.
This recording was made by conductor Jos van Immerseel and the Anima Eterna Orchestra, which plays on period instruments.
No ordinary queen, Marie took an active role in Romania‘s wartime activities, beginning with helping bring the country into the Allied camp in World War I and ending with her representation of Romanian interests in territory negotiations at the close of the war. In the interim, the “Soldier Queen” also contributed to the war effort by volunteering as a nurse with the Red Cross and publishing a book whose proceeds went to the same cause. Marie later became the first royal adherent of what faith? More…Discuss
Raleigh was an English explorer, courtier, and favorite of Queen Elizabeth I, whom he famously—according to the story—protected from a puddle by laying down his cloak. After King James I took the throne, however, Raleigh was accused of plotting against the king, was arrested, and lost many of his offices and monopolies. He was also found guilty, on somewhat insufficient evidence, of conspiring with Spain against England. Raleigh was not actually executed, though, until 1618, after what happened? More…Discuss
He graduated from college a naïve idealist, but just a few years of chasing down stories had turned him into a cynical, hard-bitten journalist. Discuss.
“Form follows function” is a principle of 20th-century architecture. Coined by American architectLouis Sullivan, it asserts that the form of a building should be primarily based upon its intended function. He developed the idea while working on a new aesthetic for skyscrapers amid the late 19th-century revival of traditional classicism. Sullivan is widely misquoted—he actually said “form ever follows function”—but perhaps the greater error is that the saying is often wrongly attributed to whom?More…Discuss
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CIDSE - TOGETHER FOR GLOBAL JUSTICE (CHANGE FOR THE PLANET -CARE FOR THE PROPLE-ACCESS THIS NEW WEBSITE FROM EUZICASA)
