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- Vietnam War: Seen from two sides May 25, 2016
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- Photo © Keystone Hulton – Getty Images – Bus London, 1952 May 25, 2016
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- Holy Gospel of Jesus Christ according to Saint Mark 10:32-45. May 25, 2016
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- 75 years ago today, on May 24, 1941, Robert Allen Zimmerman was born in Duluth, Minnesota May 24, 2016
- Amazing life May 24, 2016
- Holy Gospel of Jesus Christ according to Saint Mark 10:28-31. May 24, 2016
- Clinton Adviser, Nobel Prize Winning Economist Endorsed Venezuelan Socialism | Mises Wire May 24, 2016
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- Viorel Simionescu: Port popular branean _ Fundata 1980 May 24, 2016
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Daily Archives: May 25, 2014
Kayla Wong Rachmaninoff Piano Concerto No. 2 Part 4
Beethoven Piano Concerto n.3 op.37 – Kempff – Bernstein – NYP (Live 1966)
From Wikipedia, the free encyclopedia
The Piano Concerto No. 3 in C minor, Op. 37, was composed by Ludwig van Beethoven in 1800 and was first performed on 5 April 1803, with the composer as soloist. The year for which the concerto was composed (1800) has however been questioned by contemporary musicologists. It was published in 1804. During that same performance, the Second Symphony and the oratorio Christ on the Mount of Olives were also premiered. The composition was dedicated to Prince Louis Ferdinand of Prussia. The first primary theme is reminiscent of that of Mozart’s 24th Piano Concerto.
I. Allegro con brio
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This movement is known to make forceful use of the theme (direct and indirect) throughout.
Orchestral exposition: In the orchestral exposition, the theme is introduced by the strings, and used throughout the movement. It is developed several times. In the third section (second subject), the clarinet introduces the second main theme, which is in the relative major key, E-flat major.
Second exposition: The piano enters with an ascending scale motif. The structure of the exposition in the piano solo is similar to that of the orchestral exposition.
Recapitulation: The orchestra restates the theme in fortissimo, with the wind instruments responding by building up a minor ninth chord as in the exposition. For the return of the second subject, Beethoven modulates to the tonic major, C major. A dark transition to the cadenza occurs, immediately switching from C major to C minor.
Cadenza: Beethoven wrote one cadenza for this movement. The cadenza Beethoven wrote is at times stormy and ends on a series of trills that calm down to pianissimo.
Coda: Beethoven subverts the expectation of a return to the tonic at the end of the cadenza by prolonging the final trill and eventually arriving on a dominant seventh. The piano plays a series of arpeggios before the music settles into the home key of C minor. Then the music intensifies before a full tutti occurs, followed by the piano playing descending arpeggios, the ascending scale from the second exposition, and finally a resolute ending on C.
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III. Rondo – Allegro
I saw almost nothing but empty pages; at the most, on one page or another a few Egyptian hieroglyphs wholly unintelligible to me were scribbled down to serve as clues for him; for he played nearly all the solo part from memory since, as was so often the case, he had not had time to set it all down on paper.
Johann Joseph Fux. Ouverture in D minor. E 109
Johann Joseph Fux
Ouverture in D minor. E 109
I. Grave – Allegro – Grave
Armonico tributo Austria
Lorenz Duftschmid, director
Recording; September 1997
Going Home Antonin Dvorak BYU Choir
William Arms Fisher, a pupil of the Czech composer Antonin Dvorak, wrote the lyrics to and adapted the music to the theme of Dvorak’s 2nd Movement to the New World Symphony. These are his words now sung by the BYU Choir.
“Goin’ home, goin’ home, I’m a goin’ home;
Quiet-like, some still day, I’m jes’ goin’ home.
It’s not far, jes’ close by,
Through an open door;
Work all done, care laid by,
Goin’ to fear no more.
Mother’s there ‘spectin’ me,
Father’s waitin’ too;
Lots o’ folks gather’d there,
All the friends I knew,
All the friends I knew.
Home, I’m goin’ home!”
The Largo, with its haunting English horn solo, is the outpouring of Dvorak’s own home-longing, with something of the loneliness of far-off prairie horizons, the faint memory of the red-man’s bygone days, and a sense of the tragedy of the black-man as it sings in his “spirituals.” Deeper still it is a moving expression of that nostalgia of the soul all human beings feel. That the lyric opening theme of the Largo should spontaneously suggest the words ‘Goin’ home, goin’ home’ is natural enough, and that the lines that follow the melody should take the form of a negro spiritual accords with the genesis of the symphony.
— William Arms Fisher, Boston, July 21, 1922.
Give Me Your Tired, Your Poor by Irving Berlin
Give Me Your Tired, Your Poor
Words by Emma Lazarus
Music by Barbara Klaskin Silberg ©2000
For more information on performing this song, please visit:
Credinta, poetic thought by George-B
Credinta nu-i oarba:
Ea are un ochi ascuns, inautrul fiintei
de vede tot ce va sa fie…
E doar un suspin, fara alinare,
Sau poate un respir putin prea scurt,
ce parca cere mai mult,
un cascat, un pic de aer mai mult…
credinta nu-i oarba:
precum un magnet nevazut,
un instinct indrumator,
un memento in DNA, cine stie cat de batran…
credinta nu-i oarba.
BORODIN – In the Steppes of Central Asia
Exlusive BBC Studio Recording
Vassily Sinaisky (conductor)
The BBC Music Magazine Collection
Historic musical moments: Brahms – Symphony No. 2 – Wiener Philharmoniker – Leonard Bernstein – 1982
Symphony No. 2 in D major, Op. 73
I. Allegro non troppo . . . . . . . . . . . . . . . . . . . . . . . . . . (00:42)
II. Adagio non troppo – L’istesso tempo, ma grazioso . . . (21:53)
III. Allegretto grazioso (quasi andantino) . . . . . . . . . . . . (34:41)
IV. Finale. Allegro con spirito . . . . . . . . . . . . . . . . . . . . (40:13)
Recorded live at the Große Musikvereinssaal
Vienna, 1-6 September 1982
Argentina was one of a number of Spanish colonies controlled by the Spanish viceroy in Lima, Peru. On May 25, 1810, Buenos Aires declared its independence from the viceroyalty but continued to pledge loyalty to the Spanish crown. May 25 is observed throughout the country as the anniversary of the revolution; independence from Spain wasn’t declared until July 9, 1816. Both days are national holidays and are observed with religious services at the cathedral and special performances at the Colón Theatre in Buenos Aires. More… Discuss
Emerson was a poet and essayist who established himself as a leading spokesman for transcendentalism. He developed his own philosophy combining German idealism, Neo-Platonism, and Asian mysticism, and dominated the American lecture circuit of the 1830s with his winter lecture tours, which included the notable essays “The Over-Soul” and “Self-Reliance.” Although he published many volumes of essays and poetry, his lectures provided most of his income. What famous philosopher was Emerson’s godson? More… Discuss
The Diet of Worms was an assembly opened by Holy Roman Emperor Charles V to deal with the question of Martin Luther’s recalcitrant behavior. Luther was asked to retract his teachings condemned by the pope, but he refused. Various theologians argued with him for a week, but he would not change his position. On May 25, Luther was formally declared an outlaw in the Edict of Worms, and the lines of the Reformation were thereby hardened. Who hid Luther to protect him from the edict’s enforcers? More… Discuss
Researchers are cautiously optimistic about an experimental cancer treatment that uses a modified measles virus to target and kill cancerous cells. Two out of six multiple myeloma patients who were treated with extremely high doses of the engineered viruses responded to the treatment, with one appearing to enter into complete remission. These two patients were found to have few or no circulating measles antibodies, important because this affords the virus a chance to attack the cancer cells before the patient’s immune system begins fighting off the virus. More… Discuss