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Daily Archives: February 12, 2014
Make music Part of Your Life Series: Mozart:Piano Concerto No. 21 in C major, K. 467 (Elvira Madigan) Pollini/Muti
Mozart:Piano Concerto No. 21 in C major, K. 467
Orchestra Filarmonica della Scala
Maurizio Pollini, piano
Riccardo Muti, conductor
From Wikipedia, the free encyclopedia
The concerto has three movements:
- Allegro maestoso; in common time. The tempo marking is in Mozart’s catalog of his own works, but not in the autograph manuscript.
- Andante in F major. In both the autograph score and in his personal catalog, Mozart notated the meter as Alla breve. 
- Allegro vivace assai
Recordings: This work has been recorded numerous times by many famous pianists including Géza Anda, Piotr Anderszewski,Vladimir Ashkenazy, Daniel Barenboim, Malcolm Bilson, Alfred Brendel, Robert Casadesus, Ivan Drenikov, Annie Fischer, Walter Gieseking, Friedrich Gulda, Stephen Hough, Keith Jarrett, Wilhelm Kempff, Walter Klien, Alicia de Larrocha, Giorgi Latsabidze, Rosina Lhevinne, Dinu Lipatti, Radu Lupu, Murray Perahia, Maria João Pires,Maurizio Pollini, Arthur Rubinstein, Fazil Say, András Schiff, Artur Schnabel, Rudolf Serkin, Howard Shelley,Mitsuko Uchida, and Christian Zacharias.
Feastday: February 13
1522 – 1589
St. Catherine was born in Florence in 1522. Her baptismal name was Alexandrina, but she took the name of Catherine upon entering religion. From her earliest infancy she manifested a great love of prayer, and in her sixth year, her father placed her in theconvent of Monticelli in Florence, where her aunt, Louisa de Ricci, was a nun. After a brief return home, she entered the convent of the Dominican nuns at Prat in Tuscany, in her fourteenth year. While very young, she was chosen Mistress of Novices, then subprioress, and at twenty-five years of age she became perpetual prioress. The reputation of her sanctity drew to her side many illustrious personages, among whom three later sat in the chair of Peter, namely Cerveni, Alexander de Medicis, and Aldo Brandini, and afterward Marcellus II, Clement VIII, and Leo XI respectively. She corresponded with St. Philip Neri and, while still living, she appeared to him in Rome in a miraculous manner.She is famous for the “Ecstacy of the Passion” which she experienced every Thursday from noon until Friday at 4:00 p.m. for twelve years. After a long illness she passed away in 1589.
Her feast day is February 13.
This was an ancient Roman festival held in honor of the manes, or souls of the dead—in particular, deceased relatives. It began a season for remembering the dead, which ended with the Feralia on February 21. This week was a quiet, serious occasion, without the rowdiness that characterized other Roman festivals. Everything, including the temples, closed down, and people decorated graves with flowers and left food—sometimes elaborate banquets—in the cemeteries in the belief that it would be eaten by the spirits of the deceased. More… Discuss
The only surviving child of Charles the Bold, duke of Burgundy, Mary inherited the vast Burgundian domains in France and the Low Countries upon her father’s death in 1477. Louis XI of France immediately annexed some of these and, hoping to gain possession of the rest, proposed that she wed his son Charles. She instead married Maximilian of Austria, establishing the Hapsburgs in the Low Countries and initiating the long rivalry between France and Austria. What Great Privilege did she grant? More… Discuss
Following the deposition of King James II in 1689 and the accession of William III, some Scottish clans fought—and failed—to restore James to the throne. In 1691, William offered to pardon all Highland clans that took an oath of allegiance to him before January 1, 1692. The MacDonald clan of Glencoe missed the deadline by six days, and for this they paid with their lives. The unsuspecting MacDonalds were massacred in their homes by soldiers that had arrived seeking shelter how many days earlier?More… Discuss
In 2002, Belgium became one of the few countries in the world to legalize euthanasia, and now, 12 years later, it is set to become only the second to extend the right to die to children and the first to do so with no age restrictions. The Belgian bill, passed by the Senate in December and being voted on by the House of Representatives today, would give all terminally ill minors “with a capacity of discernment” who are “conscious at the moment of the request” and “in a hopeless medical situation of constant and unbearable suffering that cannot be eased” the right to seek to end their lives. More… Discuss
Make Music Part of Your Life Series: Tchaikovsky – Valse Sentimentale
Make Music Part of Your Life: Nicolai Glinka – Russlan and Ludmilla Overture – Performance by Yevgeny Mravinsky conducting the Leningrad Philharmonic Orchestra.
Performance by Yevgeny Mravinsky conducting the Leningrad Philharmonic Orchestra.
*****violinthief: “Though most of my uploads are of singing, I am actually an orchestral musician. Here is a recording of one of my favorite conductor/orchestra combinations. The string playing here is second to none.”
From Wikipedia, the free encyclopedia
Make Music Part of Your Life Series: Antonin Dvorak: Humoresque #7 in Gb Op 101/7: Yo Yo Ma, Itzhak Perlman
Humoresques (Czech: Humoresky), Op. 101 (B. 187), is a piano cycle by the Czech composer Antonín Dvořák, written during the summer of 1894. One writer says “the seventh Humoresque is probably the most famous small piano work ever written after Beethoven‘s Für Elise. 
During his stay in America, when Dvořák was director of the Conservatory in New York from 1892 to 1895, the composer collected many interesting musical themes in his sketchbooks. He used some of these ideas in other compositions, notably the “From the New World” Symphony, the “American” String Quartet, the Quintet in E Flat Major, and the Sonatina for Violin, but some remained unused.
In 1894 Dvořák spent the summer with his family in Bohemia, at Vysoká u Příbrami. During this “vacation”, Dvořák began to use the collected material and to compose a new cycle of short piano pieces. On 19 July 1894 Dvořák sketched the first Humoresque in B major, today number 6 in the cycle. However, the composer soon started to create scores for the pieces that were intended to be published. The score was completed on 27 August 1894.
The cycle was entitled Humoresques shortly before Dvořák sent the score to his German publisher F. Simrock. The composition was published by Simrock in Autumn, 1894.
The publisher took advantage of the great popularity of the seventh Humoresque to produce arrangements for many instruments and ensembles. The piece was later also published as a song with various lyrics. It has also been arranged for choir. The melody was also used as the theme of Slappy Squirrel in the popular animated television show Animaniacs. In 2004 the vocal group Beethoven’s Wig used Humoresque as the basis for a song entitled Dvořák the Czechoslovak.
The cycle consists of eight pieces:
- Vivace (E♭ minor)
- Poco andante (B major)
- Poco andante e molto cantabile (A♭ major)
- Poco andante (F major)
- Vivace (A minor)
- Poco allegretto (B major)
- Poco lento e grazioso (G♭ major)
- Poco andante—Vivace–Meno mosso, quasi Tempo I (B minor)
The main theme of the first Humoresque was sketched in New York on New Year’s Eve 1892, with the inscription “Marche funèbre” (sic). The minor theme was accompanied with the inscription “people singing in the street”. The opening theme of the fourth piece was also sketched in New York, among ideas intended for the unrealized opera Hiawatha. The “American” style is also apparent in other themes of the Humoresques.
Buy “Humoresque No. 7 in G-flat Major, Op. 101” on
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— Ed Joyce (@EdJoyce) February 12, 2014
“Three early Mozart pieces, K. 137, 137 and 138, are labeled divertimentos on the manuscripts and are so listed in Grove. However, few Mozart scholars accept that tag as an accurate description of the works, and most doubt that the title came from Mozart. For one thing, a divertimento should have two minuets, and these three have none. At first glance they seem to be straightforward string quartets–yet many experts contend that they don’t sound at all like string quartets.
So what are they? Mozart scholar Alfred Einstein fancies them as small symphonies for strings, to which the composer was prepared to add extra parts for winds; they are sometimes known as the ‘Salzburg symphonies.’ Musicologist Hans Keller has given them the curious designation of ‘orchestral quartets.’ Others insist that they are indeed string quartets even if they lack the serious temper of that rarefied form. Yet (to complete the confusion) they are universally referred to as divertimentos–the one thing everyone agrees they are not.
Whatever they’re called, they are fine examples of Mozart’s early essays in chamber music…Mozart composed them in 1772, when he was 16, not long before leaving Salzburg on his third (and, as it turned out, his last) trip to Italy. He was going to Milan to produce the opera ‘Lucio Silla‘ on a commission from Count Firmian, governor-general of that city. He probably expected, from previous experience, to need music to entertain the count’s court while he was at work on the opera. So it seems likely that these three works were composed to meet that need. Mozart may have planned to present them with a small orchestra, as Einstein surmises, but here they are played by the four instruments of a string quartet.
The Divertimento in B flat, K. 137…differs from [K. 136 & K. 138] by starting with a slow movement. This affecting ‘Andante’ is led by the first violin and is punctuated by dramatic responses from the accompanying strings. A spirited ‘Allegro di molto’ movement follows, leading to a delicate finale marked ‘Allegro assai’. This section, while not actually a minuet, has a courtly air that suggests a roomful of dancers bowing and curtsying under brilliant chandeliers.” – Harvey B. Loomis
Painting: Still Life (Morning Glories, Toad, & Insects), Otto Marseus van Schrieck
Make Music Part of Your Life Series:
*****Dmitri Shostakovich – The second waltz*****
Great Compositions/Performances: Edvard Grieg – Symphonic Dances / Dances Symphoniques (Gothenburg Symphony Orchestra Neeme Järvi)
Edvard Grieg (1843-1907), Norge
– Symphonic Dances on Norwegian motifs, Op. 64
– Danses symphoniques sur des motifs norvégiens, op. 64
Gothenburg Symphony Orchestra
Published on Feb 4, 2014
Picturesque pieces (Pièces pittoresques) are a set of ten pieces for piano by Emmanuel Chabrier. Four of the set were later orchestrated by the composer to make hisSuite Pastorale.
Orquesta de la Suisse Romande
Director: Neeme Järvi
” Without hesitation, ” Poulenc wrote: “I declare that parts pittoresques are so important to French music as Debussy Préludes ‘ s . ” Only seven of the ten were given by Marie Poitevin at its premiere at the Société Nationale August 9, 1881 – according to Cortot – although among them were the four numbers Chabrier later orchestrated as his Suite pastorale , and which seems to have a special affection. But talking about them simply as music or piano Pastorale Suite as orchestrated music from a pianist, as is sometimes done , is losing wealth distinctive compact Chabrier ‘s and exquisite style awareness .
Ostensibly rate polite lounge evoking pleasant rural scenes , the first issue of Suite Pastorale , ” Idylle ” on the keyboard , demands, sans pedal , legato Liszt to fetch its melody , while accompanied by two moving parts in Alkanesque staccato . While they have missed the allusions piano , extraordinary wit and constantly varied with its effects are transferred to the orchestra demonstrates the implicit nature of orchestral imagination Chabrier ‘ s in one of his piano pieces . After animation quietly percolation Idylle , the ” Danse villageoise ” has all the force of a rustic rumbustious clog dance. Returning strident in its orchestral guise , is launched by a trio whose fleet additions instrumental tone color to your holiday spirit with lovely grace. As in the first two parts, the undulating charm of ecstatic softness ” Sous– bois” provides a sheet of high kicks joy in celebrating valse – scherzo . In its alternations of hustle and tendresse , we essentially Chabrier .
Too often, such distinguished composers such as Berlioz, Fauré and Chabrier – all quintessentially Parisian – were forced to seek recognition in the provinces or abroad . Chabrier Suite Pastorale orchestrated Chabrier for a party hosted by the Association Artistique Angers, he held November 4, 1888 , with the habanera, the Joyeuse marche , Prélude pastoral , and Spain . During rehearsals , under his direction , the orchestra immediately called his jovial style and convulsed with laughter, while critics , though generally adopted, felt obliged to comment Chabrier ” ‘ s Wagnerianism ” – an amazing charge as nothing could be further from the solemnities of heavy metals from Wagner ‘s Goal of these sparkling dialogues , often Coruscating between subtlety and éclat .
****Original text (Spanish translated at euzicasa with Google Translator):
“Sin dudarlo,” Poulenc escribió: “Declaro que las pittoresques piezas son tan importantes para la música francesa como Debussy Préludes ‘s. ” Sólo siete de los diez fueron dadas por Marie Poitevin en su estreno en la Société Nationale 9 de agosto de 1881 – de acuerdo con Cortot – aunque entre ellos estaban los cuatro números Chabrier más tarde orquestar como su pastorela Suite, y por la que parece tener un cariño especial. Pero hablar de ellos simplemente como música de piano o de la pastorela Suite como la música de un pianista orquestada, como se hace a veces, es perder Chabrier riqueza compacto distintivo ‘s y su exquisita conciencia del estilo.
Tarifa salón Ostensiblemente cortés evocando escenas campestres agradables, el primer número de la pastorela Suite, “Idylle”, en el teclado, demandas, sans pedal, un Liszt legato para ir a buscar su melodía, al mismo tiempo acompañado de dos partes motoras en Alkanesque staccato. Aunque se han perdido las alusiones pianísticas, el ingenio extraordinario y constantemente variada con la que sus efectos son transferidos a la orquesta demuestra el carácter implícito de Chabrier imaginación orquestal ‘s en una de sus piezas más pianísticas. Después de la animación en voz baja percolación del Idylle, el “villageoise Danse” tiene todo el vigor rumbustious de una danza estorbo rústico. Volviendo estridente en su disfraz de orquesta, se pone en marcha por un trío cuya flota adiciones de instrumentales tono de color a su fiesta de espíritu con la gracia encantadora. Al igual que en las dos primeras piezas, el encanto ondulante de la suavidad extática “Sous-bois” proporciona una lámina de alto patadas alegría en la celebración de scherzo-valse. En sus alternancias de bullicio y tendresse, tenemos lo esencial Chabrier .
Demasiado a menudo, tan distinguidos compositores como Berlioz , Fauré y Chabrier – quintaesencia parisinos todos – se vieron obligados a buscar el reconocimiento en las provincias o en el extranjero. Chabrier orquestó la pastorela Suite para un Chabrier fiesta ofrecida por el Artistique Asociación de Angers, que él llevado a cabo 04 de noviembre 1888, con su habanera, la Joyeuse marche, Prélude pastoral, y España. Durante los ensayos, bajo su dirección, la orquesta llamó de inmediato a su estilo jovial y se convulsionó de risa, mientras que los críticos, aunque por lo general se aprueba, sentían la obligación de comentar Chabrier “‘s wagnerianismo “- un cargo asombroso como nada podría estar más lejos de las solemnidades de metales pesados de Wagner ‘¡Gol de s de estos diálogos centelleantes, a menudo Coruscating, entre la sutileza y la éclat.