Angela Merkel: Multiculturalismul este o „iluzie“. Imigranţii trebuie să asimileze total valorile germane

http://m.adevarul.ro/international/europa/angela-merkel-imigrantii-trebuie-asimileze-total-valorile-germane-multiculturalismul-iluzie-1_566f16787d919ed50e3a528d/index.html

Trandafiri şi caise – Teodor Harşia

great compositions/performances: Mozart – 3 German Dances, K. 605

Mozart – 3 German Dances, K. 605

Am4d3usM0z4rt

Published on May 1, 2012

Wolfgang Amadeus Mozart’s Three German Dances (Teutsche), K. 605, are a set of three dance pieces composed by Mozart in 1791. Most of Mozart’s German Dances were written whilst he held the position of Kammermusicus (Imperial Chamber Composer) in Vienna. Mozart had been appointed to this position on the 1st December 1787 by Emperor Joseph II. The position was offered following the death of the former Kammermusicus, Christoph Willibald Gluck on 15 November 1787. In the position Mozart earned 800 Florins a year. One of the main obligations of his position was to write music for the court dances and balls that were held in the Redoutensaal (Public Ballrooms) of the Imperial Palace in Vienna. Mozart was an enthusiastic dancer, and produced many dance works, including ten sets of German dances. The first set was written in February 1787, before Mozart’s appointment to Kammermusicus. The other sets, excluding K. 611, were written between December 1787 and 1791, during which Mozart also wrote well known pieces such as Symphonies 40 and 41, and his opera Così fan tutte. These were mostly written in sets of six, with one set of four and one of twelve. Mozart composed this set of three Teutsche (German Dances) in the early months of 1791. The three dances of K. 605 are usually listed with the six dances of K. 600 and the four of K. 602 as Dreizehn deutsche Tänze (Thirteen German Dances). The pieces first appear on 12 February 1791 on Mozart’s List of all my Works, and are the penultimate set of German Dances that Mozart would compose before his death on 5 December 1791. The dances are scored for piccolo, two flutes, two oboes, two bassoons, two horns, two trumpets, timpani, violins I and II, violoncellos, and double basses. The third dance uniquely adds two posthorns and five sleigh bells tuned to C, E, F, G, and A (in ascending order). As the name “Three German Dances” suggests, this set of dances includes three individual dances. Each dance changes in instrumentation; only the violins play in all three dances. Each dance varies in character because of this, and each includes various features:
-Dance 1: The first dance begins with a series of repeating phrases that have a rich texture and are emphasised by the violins. Small, light fanfares can be heard throughout the piece being played by the trumpets. At the end of the dance the main theme from the beginning of the dance is repeated in a characterful ending.
-Dance 2: The main tune is once again played by the violins at the beginning, and this main tune is repeated, as is the next phrase. However, this repeat is played at a lower dynamic. The main tune then passes on to a characterful woodwind section. This is followed by an almost waltz-like phrase which has a clear, steady beat that could have easily been danced to.
-Dance 3 Schlittenfahrt: This dance may have been written independently of the others, as it is very different in style. Schlittenfahrt means “Sleigh Ride”; the use of sleigh bells in the piece clearly emphasises this. Before the sleigh bells enter, there is a series of repeating phrases that pass between the trumpets, woodwind and violins. The topography of the dynamics of the tuned sleigh bells make the piece seem like a sleigh ride, as the dynamics rise and fall like a sleigh would over snow. This is followed by a beautiful but simple trumpet solo that gives a very peaceful and clear atmosphere to the piece, like a winter’s day. The original repeating phrases then return, but end with a majestic fanfare from the trumpets that passes to the other instruments, then returns to the sleigh bells and trumpet solo again. The piece ends with a diminuendo of the trumpet solo.
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FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
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historic musical bits: Leonard Bernstein – Mozart Schlittenfahrt (Sleigh Ride) 1967

Leonard Bernstein – Mozart Schlittenfahrt (Sleigh Ride) 1967

fritz51267

Uploaded on Sep 29, 2010

Leonard Bernstein & New York Philharmonic Orchestra – Mozart Schlittenfahrt (Sleigh Ride) 1967

Die Schlittenfahrt (Sleigh Ride) is the popular name given to the third of the Three German Dances K. 605 composed by Wolfgang Amadeus Mozart

make music part of your life series: Mozart – 6 German Dances, K. 606 [complete] (Ländler)

Mozart – 6 German Dances, K. 606 [complete] (Ländler)

Am4d3usM0z4rt

Published on May 1, 2012

Wolfgang Amadeus Mozart (1756 – 1791).
Composed 28 February 1791 in Vienna.
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FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start…
ALSO check out these cool sites: http://musopen.org/
and http://imslp.org/wiki/

historic musical bits: BEETHOVEN Symphony No 6 (Pastoral) in F Op 68 LEONARD BERNSTEIN

BEETHOVEN Symphony No 6 (Pastoral) in F Op 68 LEONARD BERNSTEIN

roger bridgland

Published on Nov 17, 2013

Beethoven Symphony No.6 (Pastoral) in F Op.68
Leonard Bernstein (conductor)
Boston Symphony Orchestra

• Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande (Awakening of cheerful feelings upon arrival in the countryside): Allegro ma non troppo
• Szene am Bach (Scene by the brook): Andante molto mosso
• Lustiges Zusammensein der Landleute (Merry gathering of country folk): Allegro
• Gewitter, Sturm (Thunder. Storm): Allegro
• Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm (Shepherd’s song; cheerful and thankful feelings after the storm): Allegretto

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Symphony No. 6 (Beethoven)

From Wikipedia, the free encyclopedia

 

“Pastoral Symphony” redirects here. For other uses, see Pastoral Symphony (disambiguation).

 Part of a sketch by Beethoven for his Symphony No. 6

The Symphony No. 6 in F major, Op. 68, also known as the Pastoral Symphony (German Pastoral-Sinfonie^[1]), is a symphony composed by Ludwig van Beethoven, and completed in 1808. One of Beethoven’s few works containing explicitly programmatic content,^[2] the symphony was first performed in the Theater an der Wien on 22 December 1808^[3] in a four-hour concert.^[4]

Background

 Portrait of Beethoven in 1804, when he had been working on the Sixth Symphony for two years.

Beethoven was a lover of nature who spent a great deal of his time on walks in the country. He frequently left Vienna to work in rural locations.

The first sketches of the Pastoral Symphony appeared in 1802. It was composed simultaneously with Beethoven’s more famous—and more fiery—Fifth Symphony. Both symphonies were premiered in a long and under-rehearsed concert in the Theater an der Wien in Vienna on 22 December 1808.

The composer said that the Sixth Symphony is “more the expression of feeling than painting”,^[5] a point underlined by the title of the first movement.

Instrumentation

The symphony is scored for piccolo (fourth movement only), 2 flutes, 2 oboes, 2 clarinets in B flat, 2 bassoons, 2 horns in F and B flat, 2 trumpets in C and E flat (third, fourth, and fifth movements only), 2 trombones (alto and tenor, fourth and fifth movements only), timpani (fourth movement only), and strings.

Form

The symphony has five movements, rather than the four typical of symphonies of the Classical era. Beethoven annotated the beginning of each movement as follows:

1. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande (Awakening of cheerful feelings upon arrival in the countryside): Allegro ma non troppo
2. Szene am Bach (Scene by the brook): Andante molto mosso
3. Lustiges Zusammensein der Landleute (Merry gathering of country folk): Allegro
4. Gewitter, Sturm (Thunder. Storm): Allegro
5. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm (Shepherd’s song; cheerful and thankful feelings after the storm): Allegretto

The third movement ends on an imperfect cadence that leads straight into the fourth; the fourth movement leads straight into the fifth without a pause. A performance of the work lasts about 40 minutes. Beethoven wrote a short descriptive note at the head of each movement.

First Movement: Allegro ma non troppo

‘Awakening of cheerful feelings on arrival in the countryside.’

The symphony begins with a placid and cheerful movement depicting the composer’s feelings as he arrives in the country. The movement, in 2/4 meter, is in sonata form, and its motifs are extensively developed. At several points Beethoven builds up orchestral texture by multiple repetitions of very short motifs. Yvonne Frindle commented,^[6] “the infinite repetition of pattern in nature [is] conveyed through rhythmic cells, its immensity through sustained pure harmonies.”

The following audio of the first movement was recorded in London by the BBC Symphony Orchestra under the direction of Arturo Toscanini:

Part I, First Movement (3:27)   Menu       0:00

Part II, First Movement (3:17)   Menu       0:00

Part III, First Movement (2:21)   Menu       0:00     Problems listening to the files? See media help.

Second Movement: Andante molto mosso

 Cadenza of bird calls in second movement; bird species are noted in German. Click to enlarge.

‘Scene by the brook.’

This movement, titled by Beethoven “By the brook,” is in 12/8 meter; the key is B flat major, the subdominant of the main key of the work. The movement is in sonata form.

At the opening the strings play a motif that clearly imitates flowing water. The cello section is divided, with just two players playing the flowing-water notes on muted instruments, with the remaining cellos playing mostly pizzicato notes together with the double basses.

Toward the end of the movement there is a cadenza for woodwind instruments that imitates bird calls. Beethoven helpfully identified the bird species in the score: nightingale (flute), quail (oboe), and cuckoo (two clarinets).

The following audio of the second movement was recorded in London by the BBC Symphony Orchestra under the direction of Arturo Toscanini:

Part IV, Second Movement (3:32)   Menu       0:00

Part V, Second Movement (4:37)   Menu       0:00

Part VI, Second Movement (3:39)   Menu       0:00     Problems listening to the files? See media help.

Third Movement: Allegro

‘Merry gathering of country folk.’

This is a scherzo in 3/4 time, which depicts country folk dancing and revelling. It is in F major, returning to the main key of the symphony.

The form of the movement is an altered version of the usual form for scherzi, in that the trio appears twice rather than just once, and the third appearance of the scherzo theme is truncated. Perhaps to accommodate this rather spacious arrangement, Beethoven did not mark the usual internal repeats of the scherzo and the trio. Theodor Adorno identifies this scherzo as the model for the scherzos by Anton Bruckner.^[7]

The final return of the theme conveys a riotous atmosphere with a faster tempo. The movement ends abruptly, leading without a pause into the fourth movement.

The following audio of the third and fourth movements was recorded in London by the BBC Symphony Orchestra under the direction of Arturo Toscanini:

Part VII, Third Movement (4:29)   Menu       0:00

Part VIII, Third and Fourth Movements (4:06)   Menu       0:00     Problems listening to the files? See media help.

Fourth Movement: Allegro

‘Thunder. Storm.’

The fourth movement, in F minor, depicts a violent thunderstorm with painstaking realism, building from just a few drops of rain to a great climax with thunder, lightning, high winds, and sheets of rain. The storm eventually passes, with an occasional peal of thunder still heard in the distance. There is a seamless transition into the final movement. This movement parallels Mozart‘s procedure in his String Quintet in G minor K. 516 of 1787, which likewise prefaces a serene final movement with a long, emotionally stormy introduction.^[8]

Fifth Movement: Allegretto

‘Shepherd’s song. Happy and thankful feelings after the storm.’^[9]

The finale is in F major and is in 6/8 time. The movement is written in sonata rondo form, meaning that the main theme appears in the tonic key at the beginning of the development as well as the exposition and the recapitulation. Like many classical finales, this movement emphasizes a symmetrical eight-bar theme, in this case representing the shepherds’ song of thanksgiving.

The coda starts quietly and gradually builds to an ecstatic culmination for the full orchestra (minus “storm instruments”), with the first violins playing very rapid triplet tremolo on a high F. There follows a fervent passage suggestive of prayer, marked by Beethoven “pianissimo, sotto voce”; most conductors slow the tempo for this passage. After a brief period of afterglow, the work ends with two emphatic F major chords.

The following audio of the fifth movement was recorded in London by the BBC Symphony Orchestra under the direction of Arturo Toscanini:

Part IX, Fifth Movement (4:45)   Menu   0:00

Part X, Fifth Movement (4:17)   Menu   0:00     Problems listening to the files? See media help.

Historic musical bits: Dvorak String Quartet No.12, Op.96 “American” (The Smetana Quartet – WIKI), rec. 1967)

Dvorak String Quartet No.12, Op.96 “American” (The Smetana Quartet 1967)

margo998899

 

 

Published on Dec 4, 2014

Antonin Dvorak (1841- 1904)
String Quartet “American” No.12, Op.96

Allegro ma non troppo (00:00)
Lento (7:02)
Molto vivace (15:00)
Finale: vivace ma non troppo (18:26)

The Smetana Quartet
violin – Jiri Novak
violin – Lubomir Kostecky
viola – Milan Skampa
cello – Antonin Kohout

Recorded in 1967
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String Quartet No. 12 (Dvořák)

From Wikipedia, the free encyclopedia

 

 The last page of the autograph score with Dvořák’s inscription: “Finished on 10 June 1893 in Spillville. Thanks God. I’m satisfied. It went quickly”

The String Quartet in F major Op. 96, nicknamed American Quartet, is the 12th string quartet composed by Antonín Dvořák. It was written in 1893, during Dvořák’s time in the United States. The quartet is one of the most popular in the chamber music repertoire.

Composition

	Performance of the quartet by the Seraphina quartet (Caeli Smith and Sabrina Tabby, violins; Madeline Smith, viola; Genevieve Tabby, cello) I. Allegro ma non troppo   Menu       0:00     II. Lento   Menu       0:00     III. Molto vivace   Menu       0:00     IV. Finale: vivace ma non troppo   Menu       0:00
Problems playing these files? See media help.

Dvořák composed the Quartet in 1893 during a summer vacation from his position as Director (1892-1895) of the National Conservatory in New York. He spent his vacation in the town of Spillville, Iowa, which was home to a Czech immigrant community. Dvořák had come to Spillville through Josef Jan Kovařík who had finished violin studies at the Prague Conservatory and was about to return to Spillville, his home in the United States, when Dvořák offered him a position as secretary, which Josef Jan accepted, so he came to live with the Dvořák family in New York.^[1] He told Dvořák about Spillville, where his father Jan Josef was a schoolmaster, which led to Dvořák deciding to spend the summer of 1893 there.^[2]

In that environment, and surrounded by beautiful nature, Dvořák felt very much at ease.^[3] Writing to a friend he described his state of mind, away from hectic New York: “I have been on vacation since 3 June here in the Czech village of Spillville and I won’t be returning to New York until the latter half of September. The children arrived safely from Europe and we’re all happy together. We like it very much here and, thank God, I am working hard and I’m healthy and in good spirits.”^[4] He composed the quartet shortly after the New World Symphony, before that work had been performed.^[5]

Dvořák sketched the quartet in three days and completed it in thirteen more days, finishing the score with the comment “Thank God! I am content. It was fast.”^[3] It was his second attempt to write a quartet in F major: his first effort, 12 years earlier, produced only one movement.^[6] The American Quartet proved a turning point in Dvořák’s chamber music output: for decades he had toiled unsuccessfully to find a balance between his overflowing melodic invention and a clear structure. In the American Quartet it finally came together.^[3] Dvořák defended the apparent simplicity of the piece: “When I wrote this quartet in the Czech community of Spillville in 1893, I wanted to write something for once that was very melodious and straightforward, and dear Papa Haydn kept appearing before my eyes, and that is why it all turned out so simply. And it’s good that it did.”^[7]

For his symphony Dvořák gave the subtitle himself: “From the New World“. To the Quartet he gave no subtitle himself, but there is the comment “The second composition written in America.”^[8]

Negro, American or other influences?

For the London premiere of his New World symphony, Dvořák wrote: “As to my opinion I think that the influence of this country (it means the folk songs as are Negro, Indian, Irish etc.) is to be seen, and that this and all other works (written in America) differ very much from my other works as well as in couleur as in character,…”^[9][10]

Dvořák’s appreciation of African-American music is documented: Harry T. Burleigh, a baritone and later a composer, who knew Dvořák while a student at the National Conservatory, said, “I sang our Negro songs for him very often, and before he wrote his own themes, he filled himself with the spirit of the old Spirituals.”^[11] Dvořák said: “In the Negro melodies of America I discover all that is needed for a great and noble school of music.”^[12] For its presumed association with African-American music, the quartet was referred to with nicknames such as Negro and Nigger, before being called the American Quartet.^[13][14] Such older nicknames, without negative connotations at the time, were used until the 1950s.^[15][16]

Dvořák wrote (in a letter he sent from America shortly after composing the quartet): “As for my new Symphony, the F major String Quartet and the Quintet (composed here in Spillville) – I should never have written these works ‘just so’ if I hadn’t seen America.”^[17] Listeners have tried to identify specific American motifs in the quartet. Some have claimed that the theme of the second movement is based on a Negro spiritual, or perhaps on a Kickapoo Indian tune, which Dvořák heard during his sojourn at Spillville.^[18]

	Pentatonic scale (info)
Problems listening to this file? See media help.

A characteristic, unifying element throughout the quartet is the use of the pentatonic scale. This scale gives the whole quartet its open, simple character, a character that is frequently identified with American folk music. However, the pentatonic scale is common in many ethnic musics worldwide, and Dvořák had composed pentatonic music, being familiar with such Slavonic folk music examples, before coming to America.^[19]

On the whole, specific American influences are doubted: “In fact the only American thing about the work is that it was written there,” writes Paul Griffiths.^[20] “The specific American qualities of the so-called “American” Quartet are not easily identifiable, writes Lucy Miller, “…Better to look upon the subtitle as simply one assigned because of its composition during Dvořák’s American tour.”^[21]

 Dvořák’s transcription of the song of the scarlet tanager (top) and the appearance of the song in the third movement of the quartet.

Some have heard suggestions of a locomotive in the last movement, recalling Dvořák’s love of railroads.^[22]

The one confirmed musical reference in the quartet is to the song of the scarlet tanager, an American songbird. Dvořák was annoyed by this bird’s insistent chattering, and transcribed its song in his notebook. The song appears as a high, interrupting strain in the first violin part in the third movement.^[23]

Structure

The Quartet is scored for the usual complement of two violins, viola, and cello, and comprises four movements:^[24] A typical performance lasts around 30 minutes.

I. Allegro ma non troppo

 

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First theme of the first movement, played by the Seraphina Quartet.

The opening theme of the quartet is purely pentatonic, played by the viola, with a rippling F major chord in the accompanying instruments. This same F major chord continues without harmonic change throughout the first 12 measures of the piece. The movement then goes into a bridge, developing harmonically, but still with the open, triadic sense of openness and simplicity.

 

 

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Second theme of the first movement.

The second theme, in A major, is also primarily pentatonic, but ornamented with melismatic elements reminiscent of Gypsy or Czech music. The movement moves to a development section that is much denser harmonically and much more dramatic in tempo and color.

 

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Fugato at end of development

The development ends with a fugato section that leads into the recapitulation.

 

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Cello bridge in recapitulation

After the first theme is restated in the recapitulation, there is a cello solo that bridges to the second theme.

II. Lento

 

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Theme of the second movement

The theme of the second movement is the one that interpreters have most tried to associate with a Negro spiritual or with an American Indian tune. The simple melody, with the pulsing accompaniment in second violin and viola, does indeed recall spirituals or Indian ritual music. It is written using the same pentatonic scale as the first movement, but in the minor (D minor) rather than the major. The theme is introduced in the first violin, and repeated in the cello. Dvořák develops this thematic material in an extended middle section, then repeats the theme in the cello with an even thinner accompaniment that is alternately bowed and pizzicato.

III. Molto vivace

 

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First section of the Scherzo movement. Listen for the song of the scarlet tanager high in the first violin

The third movement is a variant of the traditional scherzo. It has the form ABABA: the A section is a sprightly, somewhat quirky tune, full of off-beats and cross-rhythms. The song of the scarlet tanager appears high in the first violin.

 

 

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Second section of the scherzo

The B section is actually a variation of the main scherzo theme, played in minor, at half tempo, and more lyrical. In its first appearance it is a legato line, while in the second appearance the lyrical theme is played in triplets, giving it a more pulsing character.

IV. Finale: vivace ma non troppo

 

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Main theme of the last movement

The final movement is in a traditional rondo form, ABACABA. Again, the main melody is pentatonic.

 

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“B” section of the rondo

The B section is more lyrical, but continues in the spirit of the first theme.

 

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“C” section of the rondo

The C section is a chorale theme.

Performance and influence

In a first “private” performance of the quartet, in Spillville, June 1893, Dvořák himself played first violin, Jan Josef Kovařík second violin, daughter Cecilie Kovaříková viola, and son Josef Jan Kovařík the cello.^[8]

The first public performance of the quartet was by the Kneisel quartet in Boston in January 1894.^[25] Burghauser mentions press notices in New York as well as Boston, the first New York Herald, 18 December 1893.^[8]

While the influence of American folk song is not explicit in the quartet, the impact of Dvořák’s quartet on later American compositions is clear. Following Dvořák, a number of American composers turned their hands to the string quartet genre, including John Knowles Paine, Horatio Parker, George Whitefield Chadwick, and Arthur Foote. “The extensive use of folk-songs in 20th century American music and the ‘wide-open-spaces’ atmosphere of ‘Western’ film scores may have at least some of their origins” in Dvořák’s new American style, writes Butterworth.^{[26]
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Smetana Quartet

From Wikipedia, the free encyclopedia

 

The Smetana Quartet (Czech: Smetanovo kvarteto) was a Czech string quartet that was in existence from 1945 to 1989.

Personnel

1st violin

• Václav Neumann (1920-1995), from 1943 to 1945
• Jaroslav Rybenský, from 1945 to 1947
• Jiří Novák (1924-2010), since 1947

2nd violin

• Lubomír Kostecký (born 1922)

Viola

• Jiří Neumann, from 1943 to 1945
• Václav Neumann, from 1945 to 1947
• Jaroslav Rybenský, from 1947 to 1956
• Milan Škampa (born 1928), since 1956

Cello

• Antonín Kohout (born 1919)

Origins and activities

The Smetana Quartet arose from the Quartet of the Czech Conservatory, which was founded in 1943 (during the Nazi occupation) in Prague by Antonín Kohout, the cellist. With Jaroslav Rybenský and Lubomír Kostecký as first and second violins, and Václav Neumann as violist, the group gave its first performance as the Smetana Quartet on 6 November 1945, at the Municipal Library in Prague. Neumann left to pursue conducting in 1947, at which point Rybenský went to the viola desk and Jiří Novák (who shared first violin desk with Josef Vlach, founder of the Vlach Quartet, under Vaclav Talich in the Czech Chamber Orchestra) came in as first violin.^[2]

By 1949 the group had official connections with the Czech Philharmonic. The first foreign tour was in 1949, to Poland, and the first recording was of a quartet by Bedřich Smetana in 1950. Rybenský was obliged to retire after ill health in 1952, and was replaced by Milan Škampa. The performers were appointed professors at the Academy of Musical Arts in 1967. Of their many recordings, those made at that time for German Electrola are considered particularly fine.^[3]

For many years this group, which has been called the finest Czech quartet of its time, played the Czech repertoire from memory, giving these works a special intensity and intimacy.^[4]

Antonín Kohout trained the Kocian Quartet (founded 1972)^[5] and the Martinů Quartet (1976),^[6] though the latter’s members had been pupils of Professor Viktor Moučka, cellist of the Vlach Quartet.

 

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