The man behind ‘the world’s first home PC’

The man behind ‘the world’s first home PC’ http://www.bbc.co.uk/news/business-34639183

Facebook launches music sharing app

Facebook launches music sharing app http://www.bbc.co.uk/newsbeat/articles/34744791

The final Blackberry in the coffin?

The final Blackberry in the coffin? http://www.bbc.co.uk/news/technology-34741778

make music part of your life: Mozart / Divertimento in E-flat major, K. 113

Mozart / Divertimento in E-flat major, K. 113

scrymgeour34

Published on Mar 21, 2013

Wolfgang Amadeus Mozart (1756-1791)

Divertimento for 2 clarinets, 2 horns & strings in E-flat major, K. 113 (1771)

00:00 – Allegro
04:05 – Andante
08:45 – Menuetto & Trio
10:32 – Allegro

Members of the New York Philomusica (1979)

Violins: Felix Galimir & Isidore Cohen
Viola: John Graham
Violoncello: Gerald Appleman
Contrabass: Richard Beeson
Clarinets: Peter Simenauer & Joseph Rabbai
Horns: Virginia Benz & Robert Johnson

“The Divertimento in E-flat major, K. 113, was given the double title ‘Concerto or Divertimento’ by Mozart. It exists in two different versions: the original, recorded here — written in Milan in November 1771, for strings, two clarinets, and two horns — and the Salzburg transcription, made in approximately 1773 — which substitutes pairs of oboes, English horns, and bassoons for the clarinets and horns. (The revision was probably made because there were no clarinetists in Salzburg at the time.)

The alternate title ‘Concerto’ reveals one of Mozart’s focal concepts in his occasional music involving strings. The concertante element is either explicit — the wind concertante in the ‘Posthorn’ serenade and the violin concerti in the orchestral ‘Final-Musiken’ — or implied, as is the case here and in the great works for strings with two horns. Though the legacy of the concerto grosso is obvious, performance with multiple strings is not inevitable. (It is clear, for example, that Bach’s Fifth Brandenburg Concerto was performed by single players.) In orchestral performances, a continuo harpsichord would be entirely appropriate.

The concertante wind writing is the salient feature of K. 113. Increasing independence of the wind parts from the supporting strings as the work progresses points to the many subsequent works for winds alone. The musical ideas are characteristic of Mozart’s Italian period — catchy and terse. (Compare the symphonies from the same period, the quartet divertimenti K. 136-8, and the four-hand piano sonata in D, K. 123a/381.) Unlike most of the occasional music, K. 113 has but one minuet, making it identical in form to a symphony, if lighter in content.” – Robert D. Levin

Painting: Dancing Children, Lorens Pasch the Younger

 

 

 

 

 

8,870

 

historic musical bits: Rachmaninov / Artur Rubinstein, 1947: Rhapsody On A Theme Of Paganini, Op. 43 – RCA Vinyl

Rachmaninov / Artur Rubinstein, 1947: Rhapsody On A Theme Of Paganini, Op. 43 – RCA Vinyl

davidhertzberg

Published on Oct 27, 2012

From the LP shown above, issued in 1954. The recording you hear was made in 1947. Artur Rubinstein is soloist; Walter Susskind leads the Philharmonia Orchestra.

Note: Rubinstein hits a wrong note at the start of variation 19 (at about 16:37). I would be interested to know if this error, for which at the time of this recording there was no technology to correct, has been edited in more recently produced CD versions of this performance.

Рапсодия на тему Паганини ля минор, opus 43 — произведение Сергея Рахманинова для фортепиано с оркестром. Рахманинов работал над этим сочинением на вилле Сенар (близ Веггиса в Швейцарии) с 3 июля по 18 августа 1934 года. Премьера состоялась в Lyric Opera House в Балтиморе 7 ноября 1934 г., партию фортепиано исполнил автор в сопровождении Филадельфийского оркестра под управлением Леопольда Стоковского. В этой музыке ностальгия соединяется с откровенной «дьявольщиной». Недаром Рахманинов включил в нее мотив «Dies irae». Премьерное исполнение было записано. Среди других знаменитых исполнителей, записавших Рапсодию, — Артур Рубинштейн, Владимир Ашкенази, Вэн Клайберн.

Der russische Komponist Sergei Rachmaninow schrieb seine Rhapsodie über ein Thema von Paganini im Sommer des Jahres 1934 innerhalb weniger Wochen in seiner Residenz bei Luzern. Sein Opus 43 wurde am 7. November 1934 in Baltimore mit Rachmaninow am Flügel und dem Philadelphia Orchestra unter Leopold Stokowski uraufgeführt. Etwa zehn Jahre zuvor hatte Rachmaninow die Uraufführung von George Gershwins (1898-1937) „Rhapsody in Blue” am 12. Februar 1924 in New York organisiert und dieser beigewohnt. Vergleicht man nun Besetzung (Klavierkonzert), Spieldauer (ca. 15 min bei Gershwin, ca. 20 min bei Rachmaninow) und Titel („Rhapsodie”) beider Werke – und macht man sich die leicht an Jazz erinnernde X. Dies irae-Variation bei Rachmaninow bewusst -, so könnte man auf den Gedanken kommen, Rachmaninow hätte sich vielleicht durch seinen jüngeren Kollegen etwas inspirieren lassen (zumal Rachmaninow eine Leidenschaft für Jazz hegte).

A Rapsódia Sobre um Tema de Paganini (em russo: Рапсодия на тему Паганини) em lá menor, opus 43, é um trabalho concertante, com duração média de 20 a 25 minutos, escrito pelo compositor russo Sergei Rachmaninoff. A obra foi escrita para piano e orquestra, lembrando um concerto para piano, em Villa Senar, Suíça, de acordo com anotação na partitura, de 3 de Julho a 18 de Agosto de 1934. O próprio Rachmaninoff, notavelmente um intérprete dos próprios trabalhos, tocou piano na estréia da peça na Lyric Opera House em Baltimore, Maryland, EUA, em 7 de Novembro de 1934 com a Orquestra da Filadélfia regida pelo maestro Leopold Stokowski.

Рапсодия на тему Паганини / Rhapsodie über ein Thema von Paganini / Rapsodia sobre un tema de Paganini / Rhapsodie sur un thème de Paganini / Rapsodia sopra un tema di Paganini / パガニーニの主題による狂詩曲 / რაფსოდია პაგანინის თემაზე / Rapsodie op een thema van Paganini / Rapsódia Sobre um Tema de Paganini / Rapsódia na Paganiniho tému / Variacije na Paganinijevo temo / Рапсодія на тему Паганіні

great compositions/performances: Beethoven String Quartet No 4 Op 18 in C minor Alban Berg Quartet

Beethoven String Quartet No 4 Op 18 in C minor Alban Berg Quartet

Arionia Tellus

Published on Jan 22, 2015

Ludwig van Beethoven String Quartet No 4 Op 18 No 4 in C minor
Alban Berg Quartet:
– Günter Pichler 1 violin,
– Gerhard Schulz 2 violin,
– Thomas Kakuska viola,
– Valentin Erben cello

Movements:

1. Allegro ma non tanto 0:00
2. Andante scherzoso quasi allegretto 8:58
3. Menuetto: Allegretto 14:54
4. Allegro – Prestissimo 18:16
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String Quartet No. 4 (Beethoven)

From Wikipedia, the free encyclopedia

 The opening measures of the first movement from a 19th-century publication

Ludwig van Beethoven‘s String Quartet No. 4, Op. 18, No. 4 in C minor (1798–1800) was published in 1801. It consists of four movements:

1. Allegro ma non tanto

2. Andante scherzoso quasi allegretto

3. Menuetto: Allegretto

4. Allegro – Prestissimo

It is thought that this quartet may be in part based upon earlier material.^[1]

make music part of your life: TE DEUM – F. J. HAYDN (Gregorian Chant Lyrics Latin/English)

TE DEUM – F.J.HAYDN

Ste Vigo

Uploaded on Nov 29, 2009

TE DEUM di F.J.HAYDN , fur die Marie Therese.
18° Concerto d’Autunno eseguito il giorno 17 ottobre 2009
presso la Chiesa parrocchiale di Gessate – Corale di Gessate ,
Orchestra sinfonica Gaetano Donizetti di Gessate http://www.coralegessate.org

Te Deum laudamus: te Dominum confitemur.
Te aeternum Patrem omnis terra veneratur.
Tibi omnes Angeli, tibi Caeli et universae Potestates:
Tibi Cherubim et Seraphim incessabili voce proclamant:
Sanctus: Sanctus: Sanctus Dominus Deus Sabaoth.
Pleni sunt caeli et terra maiestatis gloriae tuae.
Te gloriosus Apostolorum chorus:
Te Prophetarum laudabilis numerus:
Te Martyrum candidatus laudat exercitus.
Te per orbem terrarum sancta confitetur Ecclesia:
Patrem immensae maiestatis:
Venerandum tuum verum et unicum Filium:
Sanctum quoque Paraclitum Spiritum.
Tu Rex gloriae, Christe.
Tu Patris sempiternus es Filius.
Tu ad liberandum suscepturus hominem,
non horruisti Virginis uterum.
Tu devicto mortis aculeo,
aperuisti credentibus regna caelorum.
Tu ad dexteram Dei sedes, in gloria Patris.
Iudex crederis esse venturus. (Kneel)
Te ergo quaesumus, tuis famulis subveni,
quos pretioso sanguine redemisti.
Aeterna fac cum Sanctis tuis in gloria numerari.
Salvum fac populum tuum Domine,
et benedic haereditati tuae.
Et rege eos, et extolle illos usque in aeternum.
Per singulos dies, benedicamus te.
Et laudamus nomen tuum in saeculum,
et in saeculum saeculi.
Dignare Domine die isto,
sine peccato nos custodire.
Miserere nostri Domine, miserere nostri.
Fiat misericordia tua Domine super nos,
quemadmodum speravimus in te.
In te Domine speravi:
non confundar in aeternum.

ENGLISH (TE DEUM)

We praise Thee, O God: we acknowledge Thee to be the Lord.
All the earth doth worship Thee and the Father everlasting.
To Thee all Angels:
to Thee the heavens and all the Powers therein.
To Thee the Cherubim and Seraphim cry with unceasing voice:
Holy, Holy, Holy: Lord God of Hosts.
The heavens and the earth are full of the majesty of Thy glory.
Thee the glorious choir of the Apostles.
Thee the admirable company of the Prophets.
Thee the white-robed army of Martyrs praise.
Thee the Holy Church throughout all the world doth acknowledge.
The Father of infinite Majesty.
Thine adorable, true and only Son
Also the Holy Ghost the Paraclete.
Thou art the King of Glory, O Christ.
Thou art the everlasting Son of the Father.
Thou having taken upon Thee to deliver man
didst not abhor the Virgin’s womb.
Thou having overcome the sting of death
didst open to believers the kingdom of heaven.
Thou sittest at the right hand of God
in the glory of the Father.
We believe that Thou shalt come to be our Judge.
We beseech Thee, therefore, help Thy servants:
whom Thou has redeemed with Thy precious Blood.
Make them to be numbered with Thy Saints in glory everlasting.
Lord, save Thy people:
and bless Thine inheritance.
Govern them and lift them up forever.
Day by day we bless Thee.
And we praise Thy name forever:
and world without end.
Vouchsafe, O Lord, this day to keep us without sin.
Have mercy on us, O Lord: have mercy on us.
Let Thy mercy, O Lord, be upon us:
as we have hoped in Thee.
O Lord, in Thee have I hoped

This is the Catholic Church’s most famous hymn of thanksgiving. It is similar in meaning to the Gloria in Excelsis Deo, only it is much more elaborate and solemn. That is, it is more explicit, going into more detail.

It is very powerful and moving, especially when the organist knows which chords and instruments to utilize.

It is attributed to Nicetas, bishop of Remesiana in Dacia (modern-day Romania), who lived in the late 4th century. It is amazing how far back the Catholic faith goes! It is not just a dry statement found in Catholic apologetics manuals — it is the absolute truth. The Catholic Church has indeed been around for almost 2000 years. That is one of the most awe-inspiring facts to meditate on!

Think about what the Church has managed to do. We are talking about an institution which has survived all the vicissitudes of history, all the crises, persecutions, wars, barbarian invasions, monarchs, dictators, countless “all too human” bishops and popes, etc. And nevertheless, she still survives to the present day — and in the same form! This is a miracle of God’s protection.

To think that citizens of the Roman Empire heard some of LAtinthe same chant that you can download or buy from this website! Imagine how many famous men and women throughout history would recognize much of the Gregorian Chant sung today at a (traditional) Catholic church!

 

Fabulous Renditions: Beethoven “Für Elise” Valentina Lisitsa Seoul Philharmonic

Beethoven “Für Elise” Valentina Lisitsa Seoul Philharmonic

ValentinaLisitsa

Uploaded on Dec 7, 2008

Live in Seoul. Encore #4 Please come to London on June 19th of 2012 if you want to hear this piece live ! I am making my debut at Royal Albert Hall 🙂
Валентина Лисица

Valentina Lisitsa Live at the Royal Albert Hall
US iTunes – http://bit.ly/iTunesUSVal
US Amazon – http://bit.ly/ValRAH
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Für Elise

From Wikipedia, the free encyclopedia

 

 

“Für Elise”, opening

 

First edition, 1867

Bagatelle No. 25 in A minor (WoO 59 and Bia 515) for solo piano, commonly known as “Für Elise” or “Fuer Elise” (German: [fyːʁ eːˈliːzə] ( listen), English: “For Elise”, sometimes written without the German umlaut mark as “Fur Elise”), is one of Ludwig van Beethoven‘s most popular compositions.^[1][2][3] It is usually classified as a bagatelle, but it is also sometimes referred to as an Albumblatt.

History

The score was not published until 1867, 40 years after the composer’s death in 1827. The discoverer of the piece, Ludwig Nohl, affirmed that the original autographed manuscript, now lost, was dated 27 April 1810.^[4]

The version of “Für Elise” heard today is an earlier version that was transcribed by Ludwig Nohl. There is a later version, with drastic changes to the accompaniment which was transcribed from a later manuscript by Barry Cooper. The most notable difference is in the first theme, the left-hand arpeggios are delayed by a 16th note beat. There are a few extra bars in the transitional section into the B section; and finally, the rising A minor arpeggio figure is moved later into the piece. The tempo marking Poco moto is believed to have been on the manuscript that Ludwig Nohl transcribed (now lost). The later version includes the marking Molto grazioso. It is believed that Beethoven intended to add the piece to a cycle of bagatelles.^{[citation needed]}

Therese Malfatti, widely believed to be the dedicatee of “Für Elise”

The pianist and musicologist Luca Chiantore (es) argued in his thesis and his 2010 book Beethoven al piano that Beethoven might not have been the person who gave the piece the form that we know today. Chiantore suggested that the original signed manuscript, upon which Ludwig Nohl claimed to base his transcription, may never have existed.^[5] On the other hand, the musicologist Barry Cooper stated, in a 1984 essay in The Musical Times, that one of two surviving sketches closely resembles the published version.^[6]

Identity of “Elise”

It is not certain who “Elise” was. Max Unger suggested that Ludwig Nohl may have transcribed the title incorrectly and the original work may have been named “Für Therese”,^[7] a reference to Therese Malfatti von Rohrenbach zu Dezza (1792–1851). She was a friend and student of Beethoven’s to whom he supposedly proposed in 1810, though she turned him down to marry the Austrian nobleman and state official Wilhelm von Droßdik in 1816.^[8] Note that the piano sonata no.24, dedicated to Countess Thérèse von Brunswick, is also referred to sometimes as “für Therese”.

According to a 2010 study by Klaus Martin Kopitz (de), there is evidence that the piece was written for the German soprano singer Elisabeth Röckel (1793–1883), later the wife of Johann Nepomuk Hummel. “Elise”, as she was called by a parish priest (she called herself “Betty” too), had been a friend of Beethoven’s since 1808.^[9] In the meantime, the Austrian musicologist Michael Lorenz^[10] has shown that Rudolf Schachner, who in 1851 inherited Therese von Droßdik’s musical scores, was the son of Babette Bredl, born out of wedlock. Babette in 1865 let Nohl copy the autograph in her possession. Thus the autograph must have come to Babette Bredl from Therese von Droßdik’s estate and Kopitz’s hypothesis is refuted.

In 2012, the Canadian musicologist Rita Steblin suggested that Juliane Katharine Elisabet Barensfeld (de), who used “Elise” as a variant first name, might be the dedicatee. Born in Regensburg and treated for a while as child prodigy, she first travelled on concert tours with Beethoven’s friend Johann Nepomuk Mälzel, also from Regensburg, and then lived with him for some time in Vienna, where she received singing lessons from Antonio Salieri. Steblin argues that Beethoven dedicated this work to the 13-year-old Elise Barensfeld as a favour to Therese Malfatti who lived opposite Mälzel’s and Barensfeld’s residence and who might have given her piano lessons.^[11] Steblin admits that question marks remain for her hypothesis.^[12]

Music

	Bagatelle in A minor (“Für Elise”)   Menu       0:00
Problems playing this file? See media help.

The piece is in A minor and is set in 3/8 time. It begins with an A minor theme marked Poco moto (little movement), with the left hand playing arpeggios alternating between A minor and E major. It then moves into a brief section based around C major and G major, before returning to the original theme. It then enters a lighter section in the subdominant key of the relative major of A minor (C major), F major. It consists of a similar texture to the A section, where the right hand plays a melody over left hand arpeggios. It then enters a 32nd note C major figure before returning to the A section. The piece then moves to an agitated theme in D minor^{[citation needed]} with an A pedal point, as the right hand plays diminished chords. This section then concludes with an ascending A minor arpeggio before beginning a chromatic descent over two octaves, and then returning to the A section. The piece ends in its starting key of A minor with an authentic cadence. Despite being called a bagatelle, the piece is in rondo form. The structure is A–B–A–C–A. The first theme is not technically difficult and is often taught alone as it provides a good basic exercise for piano pedalling technique. However, much greater technique is required for the B section as well as the rapid rising A minor figure in the C section.

Kopitz presents the finding by the German organ scholar Johannes Quack that the letters that spell Elise can be decoded as the first three notes of the piece. Because an E♭ is called an Es in German and is pronounced as “S”, that makes E–(L)–(I)–S–E: E–(L)–(I)–E♭–E, which by enharmonic equivalents sounds the same as the written notes E–(L)–(I)–D♯–E.^[10][13]

Fabulous renditions: Valentina Lisitsa – Paganini-Liszt La Campanella (two Separate musical events)

Paganini-Liszt La Campanella 

ValentinaLisitsa

Uploaded on Dec 7, 2008

Live from Seoul. Encore #1. Liszt “La Campanella”
Buy La Campanella video http://www.amazon.co.uk/Live-Royal-Al…
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La campanella

From Wikipedia, the free encyclopedia

 

	“La campanella”   Menu       0:00   Performed by Romuald Greiss on an 1850 Budynowicz piano
Problems playing this file? See media help.

“La campanella” (Italian for “The little bell”) is the nickname given to the third of Franz Liszt‘s six Grandes études de Paganini (“Grand Paganini Études”), S. 141 (1851). It is in the key of G-sharp minor. This piece is a revision of an earlier version from 1838, the Études d’exécution transcendente d’après Paganini, S. 140. Its melody comes from the final movement of Niccolò Paganini‘s Violin Concerto No. 2 in B minor, where the tune was reinforced by a little handbell.^[1][2][3]

The étude is played at a brisk allegretto tempo and studies right hand jumping between intervals larger than one octave, sometimes even stretching for two whole octaves within the time of a sixteenth note. As a whole, the étude can be practiced to increase dexterity and accuracy at large jumps on the piano, along with agility of the weaker fingers of the hand. The largest intervals reached by the right hand are fifteenths (two octaves) and sixteenths (two octaves and a second). Sixteenth notes are played between the two notes, and the same note is played two octaves or two octaves and a second higher with no rest. Little time is provided for the pianist to move the hand, thus forcing the pianist to avoid tension within the muscles. Fifteenth intervals are quite common in the beginning of the étude, while the sixteenth intervals appear twice, at the thirtieth and thirty-second measures.

 

The two red notes are 35 half-steps apart, which is about 46cm apart on a piano.

However, the left hand studies about four extremely large intervals, larger than those in the right hand. For example, in bar 101, the left hand makes a sixteenth-note jump of just a half-step below three octaves. The étude also involves other technical difficulties, e.g. trills with the fourth and fifth fingers.

The work has been arranged by other composers and pianists, most notably Ferruccio Busoni and Marc-André Hamelin.
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Published on Jan 27, 2014

Valentina Lisitsa performed Liszt La Campanella from Paganini Etude No 3 at Concert hall, Seoul Art Center, 25th November, 2013 under Masters Series which Composer Jeajoon Ryu present.(Encore after 3 hours recital.)

Valentina Lisitsa – Liszt La Campanella – from Paganini Etude No. 3

OPUSChannel

 

fabulous Renditions: Valentina Lisitsa – Edvard Grieg – The Piano Concerto in A minor, Op. 16(two videos)

 Edvard Grieg – The Piano Concerto in A minor, Op. 16(two videos)- Valentina Lisitsa

ValentinaLisitsa

Uploaded on Dec 7, 2008

Live from Seoul. Seoul Philharmonic/James Judd

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The concerto is in three movements:^[2]

1. Allegro molto moderato (A minor)

2. Adagio (D-flat major)

3. Allegro moderato molto e marcato – Quasi presto – Andante maestoso (A minor → F major → A minor → A major)
   

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Piano Concerto (Grieg)

From Wikipedia, the free encyclopedia

“Piano Concerto in A minor” redirects here. For the concerto by Schumann, see Piano Concerto (Schumann).

 

The famous flourishing introduction to the concerto.

The Piano Concerto in A minor, Op. 16, composed by Edvard Grieg in 1868, was the only concerto Grieg completed. It is one of his most popular works^[1] and among the most popular of all piano concerti.

Structure

 

The main theme of the allegro molto moderato.

The concerto is in three movements:^[2]

1. Allegro molto moderato (A minor)

2. Adagio (D-flat major)

3. Allegro moderato molto e marcato – Quasi presto – Andante maestoso (A minor → F major → A minor → A major)

The first movement is noted for the timpani roll in the first bar that leads to a dramatic piano flourish. The movement is in the Sonata form. The movement finishes with a virtuosic cadenza and a similar flourish as in the beginning.

The second movement is a lyrical movement in D-flat major, which leads directly into the third movement.

The third movement opens in A minor 4/4 time with an energetic theme (Theme 1), which is followed by a lyrical theme in F major (Theme 2). The movement returns to Theme 1. Following this recapitulation is the 3/4 A major Quasi presto section, which consists of a variation of Theme 1. The movement concludes with the Andante maestoso in A major, which consists of a dramatic rendition of Theme 2 (as opposed to the lyrical fashion with which Theme 2 is introduced).

Performance time of the whole concerto is usually just under 30 minutes.^[3]

Instrumentation

The concerto was originally scored for 2 flutes, 2 oboes, 2 clarinets in A and B flat, 2 bassoons, 2 horns in E and E flat, 2 trumpets in C and B flat, 2 trombones, tuba, timpani and strings (violins, violas, cellos and double basses). He later added 2 horns and changed the tuba to a third trombone.^[4]

History and influences

The work is among Grieg’s earliest important works, written by the 24-year-old composer in 1868 in Søllerød, Denmark, during one of his visits there to benefit from the climate.

Grieg’s concerto is often compared to the Piano Concerto of Robert Schumann — it is in the same key, the opening descending flourish on the piano is similar, and the overall style is considered to be closer to Schumann than any other single composer. Incidentally, both wrote only one concerto for piano. Grieg had heard Schumann’s concerto played by Clara Schumann in Leipzig in 1858 (1859 is given by alternative sources), and was greatly influenced by Schumann’s style generally, having been taught the piano by Schumann’s friend, Ernst Ferdinand Wenzel.

Additionally, Grieg’s work provides evidence of his interest in Norwegian folk music; the opening flourish is based on the motif of a falling minor second (see interval) followed by a falling major third, which is typical of the folk music of Grieg’s native country. This specific motif occurs in other works by Grieg, including the String Quartet No. 1. In the last movement of the concerto, similarities to the halling^[5] (a Norwegian folk dance) and imitations of the Hardanger fiddle (the Norwegian folk fiddle) have been detected.

 

The theme of the third movement of the concerto, which is influenced by the Norwegian Halling dance.

The work was premiered by Edmund Neupert on April 3, 1869 in Copenhagen, with Holger Simon Paulli conducting. Some sources say that Grieg himself, an excellent pianist, was the intended soloist, but he was unable to attend the premiere owing to commitments with an orchestra in Christiania (now Oslo). Among those who did attend the premiere were the Danish composer Niels Gade and the Russian pianist Anton Rubinstein, who provided his own piano for the occasion.^[6] Neupert was also the dedicatee of the second edition of the concerto (Rikard Nordraak was the original dedicatee), and James Huneker said that he himself composed the first movement cadenza.^[7]

The Norwegian premiere in Christiania followed on August 7, 1869, and the piece was later heard in Germany in 1872 and England in 1874. At Grieg’s visit to Franz Liszt in Rome in 1870, Liszt played the notes a prima vista before an audience of musicians and gave very good comments on Grieg’s work, which influenced him later. The work was first published in Leipzig in 1872, but only after Johan Svendsen intervened on Grieg’s behalf.^[8]

The concerto is the first piano concerto ever recorded — by pianist Wilhelm Backhaus in 1909.^[9] Due to the technology of the time, it was heavily abridged at only six minutes.^[9]

Grieg revised the work at least seven times, usually in subtle ways, but amounting to over 300 differences from the original orchestration. In one of these revisions, he undid Franz Liszt‘s suggestion to give the second theme of the first movement (as well as the first theme of the second) to the trumpet rather than to the cello. The final version of the concerto was completed only a few weeks before Grieg’s death, and it is this version that has achieved worldwide popularity. The original 1868 version has been recorded, by Love Derwinger, with the Norrköping Symphony Orchestra under Jun’ichi Hirokami.^[10]

Grieg worked on a transcription of the concerto for two solo pianos, which was completed by Károly Thern.^[11] The premiere recording of this version was by the British two-piano team of Anthony Goldstone and Caroline Clemmow.^[12]

On April 2, 1951, Russian-born American pianist Simon Barere collapsed while playing the first few bars of the concerto, in a performance with conductor Eugene Ormandy and the Philadelphia Orchestra at Carnegie Hall in New York. He died backstage shortly afterwards.^[13] It was to have been Barere’s first performance of the work.^[14]

In 1882–83 Grieg worked on a second piano concerto in B minor, but it was never completed. The sketches for the concerto have been recorded by pianist Einar Steen-Nøkleberg. In 1997, the Belgian composer Laurent Beeckmans elaborated a full piano concerto from these sketches, which was first performed in London on 3 May 2003.^[15]

In popular culture

The enduring popularity of Grieg’s Piano Concerto has ensured its use in a wide variety of contexts.

• The first movement’s coda features in the film Intermezzo (1939) starring Leslie Howard and Ingrid Bergman.

• The Concerto was featured in the film The Seventh Veil (1945) as the piece played by the young concert pianist (Ann Todd; the uncredited pianist was Eileen Joyce).

• It was famously parodied in Franz Reizenstein‘s Concerto Popolare of 1959 (written for Gerard Hoffnung‘s music festival).

• The opening theme of the first movement was used in the song “Asia Minor“, a top-ten pop hit from 1961. The title of the song was also based on the key of the concerto, A minor.^[16]

• Excerpts from the first movement are incorporated into the number “Rosemary”, in the Broadway musical How to Succeed in Business Without Really Trying (1961).

• The concerto was used in a sketch by the British comedians Morecambe and Wise in their 1971 Christmas show. Conducted by André Previn, with Eric Morecambe as soloist, Morecambe claims he is playing “all the right notes, but not necessarily in the right order”. In fact, he was playing a simplified version of the correct music, but in a completely inappropriate style.

• The comedian Bill Bailey is a skilled musician, and has used Grieg’s piano concerto for comic effect; in the TV Series Black Books it is played by his character Manny Bianco, and it is cited as an example in his solo mock-scholarly sketch on cockney music.

• The introductory motif opens “Make the Most of Your Music”, in the 1987 revised version of Follies.

Recordings

The following performance is by the University of Washington Symphony Orchestra, conducted by Peter Eros. The piano soloist is Neal O’Doan.

• 1. Allegro molto moderato

   

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  2. Adagio

  

   

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  3. Allegro moderato molto e marcato – Andante quasi – Presto

  

   

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• Problems listening to the files? See media help.

The following performance is by the Skidmore College Orchestra. It is courtesy of Musopen.

• 1. Allegro molto moderato

  

   

  Menu

   

   

   

  0:00

   

   
  2. Adagio

  

   

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  0:00

   

   
  3. Allegro moderato molto e marcato

  

   

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• Problems listening to the files? See media help.

 

make music part of your life: Marin Marais Alcyone Cinquieme Acte Chaconne

Marin Marais Alcyone Cinquieme Acte Chaconne

GILBERTO DE ANDRADE REZENDE

Saint of the Day for Friday, November 6th, 2015: St. Leonard

Saint of the Day for Friday, November 6th, 2015

St. Leonard

According to unreliable sources, he was a Frank courtier who was converted by St. Remigius, refused the offer of a See from his godfather, King Clovis I, and became a monk at Micy. He lived as a … continue reading

More Saints of the Day

St. Leonard Bl. Anthony Baldinucci St. Atticus St. Barlaam St. Demetrian St. Edwen St. Efflam St. Erlafrid St. Felix of Fondi St. Felix of Thynissa

St. Illtyd Bl. Josefa Naval Girbes St. Joseph Khang St. Leonard of Noblac St. Leonard of Reresby St. Leonianus Bl. Martyrs of Astoria during Spanish Civil War St. Pinnock St. Romulus of Genoa St. Winoc

today’s holiday: Gustavus Adolphus Day

Gustavus Adolphus Day

Gustavus Adolphus (1594-1632) was the king of Sweden (1611-32) who laid the foundations of the modern Swedish state and turned the country into a major European power. He was killed during the Thirty Years’ War while leading a cavalry charge at the Battle of Lützen on November 6, 1632. The anniversary of his death is observed throughout Sweden with patriotic demonstrations—particularly in Skansen, Stockholm’s outdoor museum. Enormous bonfires are built on Reindeer Mountain and processions of students carry lighted torches through the museum grounds. More… Discuss

quotation: John F. Kennedy

So, let us not be blind to our differences—but let us also direct attention to our common interests and to the means by which those differences can be resolved.

John F. Kennedy (1917-1963) Discuss

today’s birthday: John Philip Sousa (1854)

John Philip Sousa (1854)

Known as “The March King,” Sousa was an American bandmaster who composed more than 130 military marches, including “The Stars and Stripes Forever” and “Semper Fidelis”—the official march of the US Marines. In 1868, when Sousa was 13, his father enlisted him in the Marine Corps as an apprentice in the Marine Band, which he later led from 1880 until 1892, at which point he formed his own band and toured to great acclaim. In the 1890s, Sousa developed a type of bass tuba now known as what? More… Discuss

this day in the yesteryear: First Flight of the Hawker Hurricane (1935)

First Flight of the Hawker Hurricane (1935)

First tested in 1935, the Hawker Hurricane was a British single-seat fighter aircraft powered by a newly designed Rolls-Royce engine. Together with the Spitfire, the Hurricane enabled the Royal Air Force (RAF) to win the Battle of Britain of 1940, accounting for the majority of the RAF’s air victories during this period. About 14,000 Hurricanes were built by the end of 1944, and the aircraft served in all the major theatres of World War II. What was the Hurricane’s maximum speed? More… Discuss

Isolation Tanks

Isolation Tanks

In 1954, John C. Lilly developed the isolation tank to test the effects of sensory deprivation. Such tanks are intended to completely deprive the brain of any external stimulation; they are lightless, soundproof, and filled with warm saltwater to promote flotation and reduce skin sensation. Isolation tanks are now used for meditation, relaxation, and in alternative medicine. A therapeutic session typically lasts an hour, and it is reportedly common to experience what during the first 40 minutes? More… Discuss

word: perfidious

perfidious

Definition:	(adjective) Of, relating to, or marked by perfidy; treacherous.
Synonyms:	punic, treacherous
Usage:	After Frank betrayed him, James swore he would never forgive his friend’s perfidious behavior. Discuss.

The very best of American photography

The very best of American photography

http://gu.com/p/4ex8q?CMP=Share_AndroidApp_WordPress

The very best of American photography

The very best of American photography

http://gu.com/p/4ex8q?CMP=Share_AndroidApp_WordPress

Supreme court may decide to hear most consequential abortion cases in decades

Supreme court may decide to hear most consequential abortion cases in decades

http://gu.com/p/4evqe?CMP=Share_AndroidApp_WordPress

Snowden: Democratic debate showed major shift in how I am perceived

Snowden: Democratic debate showed major shift in how I am perceived

http://gu.com/p/4e29f?CMP=Share_AndroidApp_WordPress

Malala: Her father’s daughter

Malala: Her father’s daughter http://www.bbc.co.uk/news/entertainment-arts-34637751

Anonymous posts Ku Klux Klan list

Anonymous posts Ku Klux Klan list http://www.bbc.co.uk/news/technology-34736941

this pressed: Landlords Fail To List 50,000 N.Y.C. Apartments for Rent Limits – ProPublica

HPD analyst Stephen Werner spotted the problem of landlords not complying with rent stabilization laws 20 years ago, but his warnings were ignored. (Bryan Anselm for ProPublica)

Thousands of apartments like these in Brooklyn’s Fort Greene neighborhood qualify for rent stabilization but do not show up on the state’s list of rent-stabilized buildings. (Bryan Anselm for ProPublica)

In late August, Gov. Andrew Cuomo and other top New York officials announced an unusual crackdown on landlords. Nearly 200 building owners were collecting big tax breaks under a program to spur housing, officials said, but hadn’t registered their apartments for rent stabilization as the law requires.Are You Paying Too Much Rent? What You Need to Know About Rent LimitsTens of thousands of New Yorkers are moving into newer rent-stabilized apartments. Many are paying ‘preferential’ rents that tenant advocates say invite abuse by landlords. Read the F.A.Q.Help Us Investigate New York City RentsIs your rent legal? It might not be. Your landlord might be charging you too much, and we want your help figuring that out.Let’s Talk About NYC RentsHave a question about your NYC rent? Do you think it’s too high? Is it legal? It might not be. Send us a question using #NYCRentChat. Our reporters will answer your questions live on Twitter, Tuesday, November 10, at 1 p.m.“We will not tolerate landlords who break the law and deny their tenants rent-regulated leases, plain and simple,” Cuomo said in a statement at the time. With Attorney General Eric Schneiderman, the governor announced a new enforcement effort to clean up such abuses.But an investigation by ProPublica found that in reality, state and New York City officials have tolerated the problem for years — and ignored pleas to investigate. Nor is it limited to the building owners Cuomo and Schneiderman found — landlords have failed to register thousands of buildings for rent regulation, casting doubt on the legality of leases for about 50,000 apartments across the city.That is the finding of an extensive analysis of government data covering nearly 15,000 rental buildings receiving the tax subsidies as of 2013. About 40 percent — or 5,500 buildings — weren’t listed as rent- stabilized, yet records show the owners are receiving more than $100 million in property tax reductions.

Source: Landlords Fail To List 50,000 N.Y.C. Apartments for Rent Limits – ProPublica

this pressed: Insult to Injury – ProPublica

States nationwide are dismantling workers’ compensation, slashing benefits to injured workers and making it more difficult for them to get care. Meanwhile employers are paying the lowest rates for workers’ comp insurance since the 1970s.

Source: Insult to Injury – ProPublica

Harry Nilsson – Everybody’s Talkin’ (1969) – YouTube

Anonymous posts Ku Klux Klan list

Anonymous posts Ku Klux Klan list http://www.bbc.co.uk/news/technology-34736941