Daily Archives: October 13, 2015

Recorded March 1 2015. Schaubuhne. Leipzig.
00:08 Intermezzo Op. 76 #7 a minor
02:29 Intermezzo Op. 116 #2 a minor
05:30 Intermezzo Op. 116 # 4 e major
10:05 Intermezzo Op.117 #1 e flat major
14:12 Intermezzo Op .117 #2 b flat minor
18:13 Intermezzo Op. 118 #1 C major
19:15 Intermezzo Op. 118 #2 A major
23:58 Ballade Op.118 #3 g minor
27:08 Romance Op.118 #5 F major
30:21 Intermezzo Op. 118 #6 e flat minor
34:52 Intermezzo Op. 119 #1 b minor
38:35 Intermezzo Op. 119 #2 e minor
42:58 Ballade Op. 10 #1 d minor
Special thanks to Boesendorfer.com and Fluegelfink.de for making this project possible!

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Tagged 116, 117, 118, 119 Valentina Lisitsa, 76, great compositions/performances: great compositioJ.Brahms. Selected works from Op. 10

great compositions/performances: Tchaikovsky Overture 1812 for Piano| Valentina Lisitsa

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Tchaikovsky Overture 1812 for Piano | Valentina Lisitsa

ValentinaLisitsa

Published on Oct 7, 2015

Piano arrangement by Yessipov. Freely available on IMSLP .
Warning: one of the most technically challenging pieces ever 🙂

Recorded September 5-9 2015 at the wonderful http://www.schaubuehne.com/

Performers – me at the piano,
Benjamin at bells, Chimemaster and cannons :-))))

My heartfelt thanks to ©MDR Klassik Symphony Orchestra http://www.mdr.de/konzerte/artikel111…
and personally to Franziska Simon for letting me use their great piano.
And to Echoschall Verleih http://www.echoschall.de/ for best-sounding microphones.
Full credit for the bells to Ohio-based http://www.chimemaster.com/

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Tagged art, entertainment, EUZICASA, Facebook, Great Compositions/Performances, great compositions/performances: Tchaikovsky Overture 1812 for Piano+ Valentina Lisitsa, History, Make Music Part of Your Life Series, Music, Piano, Russia, Tempo, Valentina Lisitsa, Yessipov, YouTube

ProPublica Is Seeking a Data Intern – ProPublica

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ProPublica is seeking a data intern to help research and produce the in-depth, data-driven investigations we’re known for. You’ll be working with our award-winning News Apps team, assisting with the data cleaning, bulletproofing and analysis that is central to projects like Dollars for Docs and Prescriber Checkup. Our ideal candidate is curious, detail-oriented and comfortable working with numbers and relational databases. Proficiency in SQL, R, or another data/statistical programming language is a must. Former interns in the department have gone on to work at The New York Times, Center for Public Integrity and the Center for Investigative Reporting. The internship begins in January and lasts for six months. It is a paid position. Our offices are in New York City, but telecommuting is possible for the right candidate. Candidate must be a U.S. citizen or already have a valid work visa. ProPublica is committed to diversity and especially encourages members of underrepresented communities to apply. Interested? Send your resume and examples of your best data work by Oct. 14 to scott.klein@propublica.org.

Source: ProPublica Is Seeking a Data Intern – ProPublica

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Tagged ProPublica Is Seeking a Data Intern - ProPublica

Farage: We’re living in a German-dominated Europe of Disharmony

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Farage: We’re living in a German-dominated Europe of Disharmony

europarl

Published on Oct 7, 2015

http://www.ukipmeps.org | http://www.ukip.org/join
• European Parliament, Strasbourg, 7 October 2015

• Nigel Farage MEP, Leader of the UK Independence Party (UKIP), Co-President of the Europe of Freedom and Direct Democracy (EFDD) Group in the European Parliament – http://www.nigelfaragemep.co.uk @Nigel_Farage

• Debate: Current situation in the European Union
– Statements by Mr François Hollande, President of the French Republic, and Ms Angela Merkel, Chancellor of the Federal Republic of Germany
[2015/2878(RSP)]

Transcript:

Thank you.

Nobody in their right minds would not agree that it was a sensible thing to do to get France and Germany together, round the table, to break bread with each other, to have a trade deal with each other back in the 1950’s and to work as sovereign, democratic, nations together for peace. All of that was absolutely right and high minded.

Sadly, the whole thing has become corrupted. Tony Blair said, “the EU today is no longer about peace, it is about power” and how right he was and how that power has shifted. When Kohl and Mitterand came here, representing their countries 25 years ago it was a partnership of equals but no longer. France is now severely diminished, trapped inside a currency from which frankly she can’t recover and the French voice in this relationship and in Europe is little more now frankly than a pipsqueak.

It’s an irony isn’t it, that the project that was designed to contain German power has now given us a totally German-dominated Europe. Just look at the euro, Germany has a currency that is undervalued by twenty percent, a growing and massive trade surplus and most growth in the German economy since the collapse of 2008 has indeed been in exports to other Eurozone countries such as your very big arm sales to countries like Greece.

And when we have a General Election that says a country like Greece wants to change direction, well I’m sorry but that now must be brushed aside because the Germans don’t want it. And in what must count as perhaps the worst piece of public policy seen in modern Europe for half a century, when you compounded the already failed and flawed EU Common Asylum Policy by saying to the whole world please come to Europe, and we saw frankly, virtually a stampede and we learnt that eighty percent of those that are coming are not Syrian refugees, in fact what you’ve done is to open the door to young, male, economic migrants. Many of whom I have to say behave in a rather aggressive manner, quite the opposite to what you would ever expect to see from any refugee, and yet when that failure is met by objections from countries like Hungary their opinions are crushed.

This isn’t a Europe of peace, it’s a Europe of division, it’s a Europe of disharmony, it’s a Europe that is a recipe for resentment. And yet faced with all this failure, both of you said the same thing today. You said Europe isn’t working so we must have more Europe. More of the same failing, well there is I think a bright star on the horizon. It’s called the British referendum and given that none of you want to concede Britain the ability to take back control of her own borders a Brexit now looks more likely than at any point in modern time and I hope and pray that Britain voting to leave the European Union will be the beginning of the end of a project, however noble its original intentions, has gone wrong.
………………..
• Video: EbS (European Parliament)
…………………………….

• EU Member States:
Austria, Belgium, Bulgaria, Croatia, Cyprus, Czech Republic, Germany, Denmark, Estonia, Spain, Finland, France, Greece, Hungary, Ireland, Italy, Latvia, Lithuania, Luxembourg, Malta, Netherlands, Poland, Portugal, Romania, Slovakia, Slovenia, Sweden, United Kingdom

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Tagged Farage: We're living in a German-dominated Europe of Disharmony

Corespondenţă Bruxelles. Avertismentul Rusiei: Renunţaţi până nu e prea târziu! Ultimatum, mişcare sau bluf strategic? | Cristian Unteanu | adevarul.ro

Posted on October 13, 2015 | Leave a comment

Există câteva şcoli în lume unde sunt pregătiţi viitorii lideri politici ai lumii. Nu le confundaţi cu acele unităţi de învăţământ de la noi, producătoare pe bandă rulantă de posesori de masterate şi doctorate, cât mai multe acumulate într-un singur CV, cu singura menire de a impresiona structurile cu „cine mi-s eu şi care este valoarea mea“. În niciun caz nu seamănă, pentru că, în acest caz, am trimite totul în ridicol.

Source: Corespondenţă Bruxelles. Avertismentul Rusiei: Renunţaţi până nu e prea târziu! Ultimatum, mişcare sau bluf strategic? | Cristian Unteanu | adevarul.ro

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Pariaţi pe civilizaţia occidentală şi pe CIA în Siria! Good morning, Vietnam sau marele gambit al Levantului | Ovidiu Raetchi | adevarul.ro

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Pariaţi pe civilizaţia occidentală şi pe CIA în Siria! Good morning, Vietnam sau marele gambit al Levantului

Source: Pariaţi pe civilizaţia occidentală şi pe CIA în Siria! Good morning, Vietnam sau marele gambit al Levantului | Ovidiu Raetchi | adevarul.ro

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Pariaţi pe civilizaţia occidentală şi pe CIA în Siria! Good morning, Vietnam sau marele gambit al Levantului | Ovidiu Raetchi | adevarul.ro

Posted on October 13, 2015 | Leave a comment

Pariaţi pe civilizaţia occidentală şi pe CIA în Siria! Good morning, Vietnam sau marele gambit al Levantului

Source: Pariaţi pe civilizaţia occidentală şi pe CIA în Siria! Good morning, Vietnam sau marele gambit al Levantului | Ovidiu Raetchi | adevarul.ro

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HISTORIC MUSICAL BITS: Beethoven Symphony No 3 E flat major Eroica Leonard Bernstein Wiener Philarmoniker

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HISTORIC MUSICAL BITS: Beethoven Symphony No 3 E flat major Eroica Leonard Bernstein Wiener Philarmoniker

Sonorum Concentus

Published on Dec 26, 2013

Ludwig van Beethoven Symphony No 3 E flat major Eroica
Leonard Bernstein conducts Wiener Philarmoniker
1.Allegro con brio 0:27
2.Marcia funebre: Adagio assai in C minor 18:16
3.Scherzo: Allegro vivace 35:57
4.Finale: Allegro molto 42:13

From Wikipedia, the free encyclopedia

“Beethoven’s 3rd” redirects here. For the direct-to-video movie, see Beethoven’s 3rd (film).

Beethoven’s title page shows his erasure of dedication of the work to Napoleon.

	*I. Allegro con brio (15:12)* *II. Marcia funebre: Adagio assai (15:29)* *III. Scherzo: Allegro vivace (5:49)* *IV. Finale: Allegro molto (11:45)* *All files courtesy of Musopen*
*Problems playing these files? See media help.*

Symphony No. 3 in E-flat major, Opus 55 (also Italian Sinfonia Eroica, Heroic Symphony) is a structurally rigorous composition which marked the beginning of the creative middle-period of the composer Ludwig van Beethoven.^[1]^[2]

Beethoven began composing the third symphony soon after Symphony No. 2 in D major, Opus 36; he completed the composition in early 1804, and the first public performance of Symphony No. 3 was on 7 April 1805 in Vienna.^[3]

On display at the Lobkowicz Palace in Prague is a first published edition (1806) of Beethoven’s Eroica, as well as other Beethoven treasures including manuscripts of the 4th and 5th symphonies, featuring Beethoven’s own corrections and annotations for performance.

Instrumentation

Symphony No. 3 is scored for two flutes, two oboes, two clarinets in B-flat, two bassoons, three horns (the 1st in E-flat, C, and F; the 2nd in E-flat and C; and the 3rd in E-flat), two trumpets in E-flat and C, timpani in E-flat and B-flat (in the 1st, 3rd, and 4th movements) and in C and G (in the 2nd movement), and strings.

Form

Beethoven circa 1803 when he wrote this music

The work is in four movements:

Allegro con brio (12 – 18 min.)
Marcia funebre: Adagio assai in C minor (14 – 18 min.)
Scherzo: Allegro vivace (5 – 6 min.)
Finale: Allegro molto (10 – 14 min.)

Depending upon the conductor’s style and observation of the exposition repeat in the first movement, the performance time is between 41 and 56 minutes.

First movement: Allegro con brio

Main theme of the first movement

The first movement, in 3/4 time, is in sonata form. The movement opens with two large E-flat major chords, played by the whole orchestra, thus firmly establishing the tonality of the movement. The first theme is introduced by the cellos, and, by the fifth bar of the melody, a chromatic note (C♯) is introduced, thus establishing the harmonic tension of the composition. The melody is finished by the first violins, with a syncopated series of Gs (which forms a tritone with C♯ of the cellos). After the first theme is played, by the various instruments, the movement transits to a calmer, second theme that leads to the development section.

Like the rest of the movement, the development is characterized by remarkable harmonic and rhythmic tension, from dissonant chords and long passages of syncopated rhythm. Most remarkable, Beethoven introduces a new theme in the development section, thus breaking with the tradition of classical composition – that the development section works only with existing material.

Thematically, the development section leads back to the recapitulation; notably, the horns appear to come in early with the tonic melody, while the strings continue playing the dominant chord; and concludes in a long coda that reintroduces the new theme first presented in the development section; the first movement is between 12 and 18 minutes long.

Second movement: Marcia Funebre – Adagio assai

The second movement is a funeral march in C minor with a trio in C major, and comprises multiple fugatos. Musically, the thematic solemnity of the second movement lends it use as a funeral march proper; the movement is between 14 and 18 minutes long.

Third movement: Allegro vivace

The third movement is a lively scherzo in rapid 3/4 time during which various members of the orchestra play the theme, which ranges in dynamic from pianissimo to fortissimo. Its trio features hunting calls from the three horns; it is between 5 and 6 minutes long.

Fourth movement: Allegro molto

The fourth movement is a set of variations on a theme, which Beethoven had used in earlier compositions; as the finale of the ballet The Creatures of Prometheus, Op. 43 (1801); then as the theme of the Variations and Fugue for Piano in E♭ major, Op. 35 (1802), also called the Eroica Variations.

$\new PianoStaff << \set PianoStaff.instrumentName = #"" \new Staff = "upper" \relative c'' { \clef treble \key ees \major \time 2/4 \partial 8 ees8(^\markup {Allegro molto} g4. ees8) d4.( f8) aes4.( f8) ees4.( g8) bes4-.( bes-.) bes4. g8 bes16( aes) f8 aes16( g) ees8 g4( f8) } \new Staff = "lower" \relative c { \clef bass \key ees \major \time 2/4 r8 ees4 r bes' r bes, r ees r ees d ees r8 e f d ees! a, bes4 r8 } >>$

The theme of the fourth movement, and its bass lineThe subtitle Eroica Variations of Opus 35 derives from its thematic overlap with the fourth movement of this symphony. In the symphony proper, the thematic variations are structured like the piano variations of Opus 35: the bass line of the theme first appears and then is subjected to a series of strophic variations that lead to the full appearance of the theme proper. After a fugal treatment of the main theme the orchestra pauses on the dominant of the home key, and the theme is further developed in a new section marked Poco Andante. The symphony ends with a Presto coda which recalls the opening of the fourth movement and ends in a flurry of sforzandos. The fourth movement is between 10 and 14 minutes long.

Overview

Dedication and premiere performance

Ludwig van Beethoven originally dedicated the third symphony to Napoleon Bonaparte, whom he believed embodied the democratic and anti-monarchical ideals (Liberty, Equality, Fraternity) of the French Revolution (1789–1799). In autumn of 1804, Beethoven withdrew his dedication of the third symphony to Napoleon, lest it cost the composer’s fee paid him by a royal patron; so, Beethoven re-dedicated his third symphony to Prince Joseph Franz Maximilian Lobkowitz – nonetheless, despite such a bread-and-butter consideration, the politically idealistic Beethoven titled the work “Buonaparte”.^[4] Later, about the composer’s response to Napoleon having proclaimed himself Emperor of the French (14 May 1804), Beethoven’s secretary, Ferdinand Ries said that:

Bonaparte, First Consul, by Jean Auguste Dominique Ingres

The composer Ferdinand Ries (1784–1838) friend, pupil, and secretary to Ludwig van Beethoven

In writing this symphony, Beethoven had been thinking of Buonaparte, but Buonaparte while he was First Consul. At that time Beethoven had the highest esteem for him, and compared him to the greatest consuls of Ancient Rome. Not only I, but many of Beethoven’s closer friends, saw this symphony on his table, beautifully copied in manuscript, with the word “Buonaparte” inscribed at the very top of the title-page and “Ludwig van Beethoven” at the very bottom …

I was the first to tell him the news that Buonaparte had declared himself Emperor, whereupon he broke into a rage and exclaimed, “So he is no more than a common mortal! Now, too, he will tread under foot all the rights of Man, indulge only his ambition; now he will think himself superior to all men, become a tyrant!” Beethoven went to the table, seized the top of the title-page, tore it in half and threw it on the floor. The page had to be recopied, and it was only now that the symphony received the title Sinfonia eroica.^[5]

An extant copy of the score bears two scratched-out, hand-written sub-titles; initially, the Italian phrase Intitolata Bonaparte (“Titled Bonaparte”), secondly, the German phrase Geschriben auf Bonaparte (“Written for Bonaparte”), four lines below the Italian sub-title. Three months after retracting his initial Napoleonic dedication of the symphony, Beethoven informed his music publisher that “The title of the symphony is really Bonaparte”. In 1806, the score was published under the Italian title Sinfonia Eroica … composta per festeggiare il sovvenire di un grande Uomo (“Heroic Symphony, Composed to celebrate the memory of a great man”).^[6]

When informed of the death of Napoleon (5 May 1821), Beethoven said, “I wrote the music for this sad event seventeen years ago”^{[citation needed]}, referring to the funereal second movement. Composed from the autumn of 1803 until the spring of 1804, the premiere performance of the third symphony was private – for Beethoven’s royal patron, Prince Lobkowitz, at the castle Eisenberg (Jezeří) in Bohemia. The first public performance was on 7 April 1805, at the Theater an der Wien, Vienna; for which concert the announced (theoretical) key for the symphony was Dis (D-sharp major, 9 sharps).^[7]

Horn-solo anecdote

During the initial rehearsal, in the first movement the solo horn entered with the main theme four bars before the true recapitulation; about which, Beethoven’s secretary, Ferdinand Ries said that:

The first rehearsal of the symphony was terrible, but the hornist did, in fact, come in on cue. I was standing next to Beethoven and, believing that he had made a wrong entrance, I said, “That damned hornist! Can’t he count? It sounds frightfully wrong.” I believe I was in danger of getting my ears boxed. Beethoven did not forgive me for a long time.^[8]

Musical characteristics

The work is a milestone work of classical-style composition; it is twice as long as the symphonies of Joseph Haydn and Wolfgang Amadeus Mozart – the first movement is almost as long as a typical Classical symphony (with repetition of the exposition). Thematically, it covers more emotional ground than Beethoven’s earlier symphonies, and thus marks the beginning of the Romantic period in classical music.^[9]

The second movement especially displays a great emotional range, from the misery of the funeral march theme, to the relative solace of happier, major-key episodes. The finale displays a similar emotional range, and is given a thematic importance then unheard of. In earlier symphonies, the finale was a quick and breezy conclusion; here, the finale is a lengthy set of variations and fugue on a theme from Beethoven’s music for the ballet The Creatures of Prometheus (1801).^[9]

Compositionally, the opening theme of Sinfonia Eroica resembles that of the overture to the comic opera Bastien und Bastienne (1768), composed by twelve-year-old W. A. Mozart.^[10] It was unlikely that Beethoven knew of that unpublished composition. A possible explanation is that Mozart and Beethoven each coincidentally heard and learned the theme from elsewhere.^[11]