Şi ce-i dacă plouă!

Frmeie pe malul mării, Gheorghe Petraşcu

De la Adevarul :Păpădia, planta care ne scapă de bolile hepato-biliare şi de diabet. Cum se face deliciosul sirop de păpădie

http://m.adevarul.ro/locale/baia-mare/papadia-planta-scapa-bolile-hepato-biliare-diabet-deliciosul-sirop-papadie-1_568944e137115986c617f178/index.html

N. Korea says it has conducted a ‘successful’ hydrogen bomb test

https://yho.com/krbng
N. Korea says it has conducted a ‘successful’ hydrogen bomb test

View in Apache Camp, San Carlos River, Arizona

FROM the Guardian : North Korean nuclear test suspected as ‘artificial earthquake’ detected

North Korean nuclear test suspected as ‘artificial earthquake’ detected

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

De la Adevarul: Porumbul, cereala-medicament folosită de străbunici. Remedii naturiste cu mămăligă şi mătase de cucuruz

  

Ceaiul din mătase de porumb reduce disfuncţiile hepatobiliare, este ideal în tratarea cistitelor şi a problemelor renale şi ajută, printre altele, la detoxifiere şi în lupta cu kilogramele în plus. Virtuţile terapeutice ale porumbului nu se rezumă la mătase. Banalul preparat din făină de boabe, mămăliga, stimulează funcţionarea normală a pancreasului şi are o serie lungă de proprietăţi antiinflamatorii.

Cunoscut în anumite zone sub denumirea de păpuşoi sau cucuruz, porumbul este o plantă originară din America Centrală ce asigură, astăzi, alături de grâu, 80% din producţia de cereale a lumii. Cultivată în multe regiuni ale lumii ca plantă alimentară, industrială şi furajeră, polumbul poate fi considerat la fel de bine şi o plantă medicinală, mai ales datorită virtuţilor terapeutice din boabele şi mătasea de porumb. 
   

Efecte diuretice şi laxative

“Partea cu cele mai multe puteri curative este mătasea de porumb, care reprezintă stigmatele florilor de porumb. Perioada de înflorire se întinde din iunie până în august, aceasta reprezentând şi perioada de recoltare. Mătasea de porumb se recoltează înaintea polenizării prin tăiere. În funcţie de modul în care este utilizată, mătasea poate avea efecte diferite: dacă este uscată rapid la umbră are efect diuretic confirmat de numeroase studii ştiinţifice, iar dacă este păstrată timp mai îndelungat, fără a fi uscată, pierde efectul diuretic şi devine laxativă”, explică, pentru Adevărul, fitoterapeutul Elena Badea.

Calmează durerile renale 

Mătasea de porumb se foloseşte sub formă de ceai, fie singură, fie în combinaţie cu alte plante. 

“Ceaiul de mătase de porumb are efecte diuretice puternice, favorizează eliminarea apei şi calmează durerile renale. Este indicat pentru tratarea problemelor vezicii urinare şi a rinichilor, dar împotriva incontinenţei urinare la copii şi bătrâni şi a colicilor renale. Se poate administra sub formă de infuzie. Se toarnă o cană de apă fierbinte peste două linguriţe de mătase de porumb şi se lasă la infuzat timp de 5 minute. Se consumă două căni pe zi”, mai spune Elena Badea.

Remediu pentru pentru gută şi reumatism

“Dacă suferi de gută, reumatism sau reumatism cronic degenerativ, fă cure de 3 săptămâni cu ceai de mătase de porumb, timp în care este indicat să consumi un litru şi jumătate de ceai zilnic. Stimulează eliminarea sărurilor aflate în exces în organism. Nu uita că atunci când urmezi o cură cu ceai de mătase de porumb este indicat să eviţi consumul de alimente acide şi acre“, adaugă fitoterapeutul. 

Stimulent pentru pancreas

În combinaţie cu seminţe de anason, rădăcini de păpădie, frunze de coada-calului, sunătoare, trei-fraţi-pătaţi (în părţi egale), mătasea de porumb are afect de stimulare a funcţionării pancreasului. 

“5 grame din acest amestec se pun într-un pahar de apă fierbinte, se lasă la infuzat 10 minute, apoi se strecoară şi se beau câte 200 de mililitri de infuzie de trei ori pe zi, înainte de masă. Un pancreas care funcţionează corect reglează cantitatea de zahăr din organism şi asigură metabolismul intermediar al glucidelor, lipidelor şi proteinelor, ferindu-ne de diabetul zaharat şi de obezitate”, mai spune fitoterapeut.

Excelentă în curele de detoxifiere şi de ajutor în lupta cu obezitatea

Mătasea de porumb conţine vitaminele C, E, K, calciu, potasiu, dioxid de siliciu, saponine, uleiuri volatile, alantoină şi ceară, ce o face ideală în curele de detoxifiere. Decoctul din mătase de porumb, cruşin, soc şi păpădie este ideal în arderea kilogramelor excedentare, mucilagiile din mătasea de porumb, având rolul de a absorbi surplusul de apă din organism.

 

“Dacă te confrunti deja cu problema obezităţii, mătasea de porumb te poate ajuta, ea făcând parte dintr-o combinaţie de plante eficace în lupta cu kilogramele în plus. Dintr-un amestec de frunze, plantă întreagă sau rădăcini de păpădie (40 g), mătase de porumb (20 g), flori de soc (15 g) coajă de cruşin sau volbură (25 g) se face decoct. Proprieţiile sunt o lingură de amestec de plante la o cană de apă. Se beau 2-3 căni de ceai călduţ, neîndulcit între mese, în cure de cel puţin o lună”, mai spune Elena Badea.

Elementele conţinute de mătasea de porumb o recomandă în tratamentul bolilor de inimă şi de ficat. Ceaiul din mătase de porumb este indicat şi bolnavilor de cancer, datorită cantităţii mari de antioxidanţi pe care-i conţine.

Mămăliga este un bun antiinflamator, colagog şi coleretic

Nu doar mătasea de porumb are efecte benefice asupra organismului, ci şi boabele acestei cereale. Consumate regulat, preparatele din făină de porumb te feresc de bolile pancreasului şi te ajută să-ţi menţii greutatea corporală în parametrii normali.

   

“Boabele  se folosesc măcinate şi fierte, sub formă de mămăligă, o modalitate mai la îndemână pentru a ne bucura de efectele sale benefice. Făina de porumb este un bun antiinflamator, colagog (stimulent al secretiei de bilă) şi coleretic (favorizează vărsarea bilei în intestin), fiind unul dintre puţinele alimente cu aceste proprietăţi. La fel ca şi ceaiul de mătase, mămăliga stimulează funcţionarea normală a pancreasului, aşa că nu mai sta pe gânduri şi mămânc-o regulat”, mai spune Elena Badea.

Mămăliga, leac pentru litiază şi colici renale

Aceeaşi banală mămăligă, folosită caldă, sub formă de cataplasme, poate fi utilă în diverse afecţiuni, în funcţie de zona în care se aplică.

 

“Astfel, aplicată pe gât, ea tratează amigdalitele şi durerile în gât, aplicată în zona rinichilor este de ajutor în caz de litiază şi colici renale. Dacă suferi de reumatism înveleşte locul afectat în frunze de varză, iar deasupra pune mămăligă atât de fierbinte cât poţi suporta. Efectul antiinflamator articular va fi foarte puternic, prin acţiunea termică a mămăligii şi prin intensificarea circulaţiei, care va prelua mult mai bine principiile active din frunza de varză. Mămăliga  este eficientă şi în curele de slăbire deoarece provoacă mult mai rapid senzaţia de saţietate şi este destul de săracă în calorii”, explică specialistul în fitoterapie.

Contraindicaţii 

Tratamentul intern cu mătase de porumb este contraindicat persoanelor cu infecţii renale acute, după cum avertizează fitoterapeutul Elena Badea.

http://m.adevarul.ro/locale/pitesti/porumbul-cereala-medicament-folosita-strabunici-remedii-naturiste-mamaligasi-matase-cucuruz-1_5688ff2e37115986c61618ca/index.html

From the Guardian : Trump to Clinton, the race for the White House is powered by delusion

http://www.theguardian.com/commentisfree/2016/jan/04/race-white-house-delusion-donald-trump-hillary-clinton

From Trump to Clinton, the race for the White House is powered by delusion

Vama Veche aşa cum nu ai mai văzut-o niciodată. Imagini de iarnă de pe plaja-vedetă

http://m.adevarul.ro/locale/constanta/vama-veche-asa-nu-mai-vazut-o-niciodata-imagini-iarna-plaja–vedeta-1_568b809437115986c626695f/index.html

From : Germans shaken by New Year attacks on women in Cologne

By Madeline Chambers

BERLIN (Reuters) – About 90 women have reported being robbed, threatened or sexually molested at New Year celebrations outside Cologne’s cathedral by young, mostly drunk, men, police said on Tuesday, in events they have described as ‘a new dimension in crime’.

Cologne police chief Wolfgang Albers told a news conference officers described the men as looking as if they were from “the Arab or North African region” and mostly between 18 and 35 years old. “We have one complaint that represents a rape,” he added.

Integration commissioner Aydan Ozoguz warned against putting foreigners and refugees, hundreds of thousands of whom have entered Germany largely from Middle Eastern war zones, under “blanket suspicion”.

Chancellor Angela Merkel expressed shock over the attacks that police said occurred when about 1,000 men split into gangs as officers cleared a square to stop fireworks being thrown from the top of steps into the crowd below.

While politicians also urged people not to become wary of all refugees, the incident fuelled calls from right-wing groups to stop letting in migrants.

Germany took in just over a million last year, far more than any other European country.

Cologne mayor Henriette Reker said it was “unbelievable and intolerable what happened on New Year’s Eve” but there was no reason to believe those involved in the attacks were refugees.

Justice Minister Heiko Maas said Germany would not accept such attacks which he described as “a new scale of organised crime”.

Around 150 people gathered in front of Cologne’s cathedral on Tuesday evening to protest against violence against women. One of them held a sign saying: “Ms Merkel where are you? What do you say? This scares us!”

“TOUGH RESPONSE”

The right-wing Alternative for Germany (AfD), which has gained in polls in part at Merkel’s expense thanks to a campaign against refugees, said she should close the border.

“Mrs Merkel, is Germany ‘colourful and cosmopolitan’ enough for you after the wave of crimes and sexual attacks?” tweeted AfD chief Frauke Petry.

http://uk.mobile.reuters.com/article/idukkbn0uj1il20160105?irpc=932

Reuters

http://uk.mobile.reuters.com/home

Little Hawk Sicangu Lakota

Today’s Duck, in flying Colours

Bernie Sanders outlines plan to end Wall Street’s ‘greed, fraud and arrogance’

Bernie Sanders outlines plan to end Wall Street’s ‘greed, fraud and arrogance’

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

BBC World Service – Business Daily, Does cheap oil cause war?

http://www.bbc.co.uk/programmes/p03dmfst?ocid=socialflow_facebook

Cerdac cu flori – Gheorghe Petraşcu

A global free fall Aka free market economy): US stock markets fall due to renewed concerns about the Chinese economy

http://wp.me/p1bDM9-tr0

Tu şi cancerul, un subiect rece ca un sloi de gheața, pe spate!

Batrânețe țoale grele: Problems Nr. 1, A CIVILIZATIEI OCCIDENTALE: OMITEREA BATRÂNILOR DIN VIAȚA SOCIALĂ SI FAMILIALĂ IN VREMEA NOSTRĂ! SĂ NE FIE RUŞINE!

Wake up people, you pay the price: Mărturii terifiante ale tinerelor agresate sexual în Germania: „Ţipam, dar nu se opreau“. „Unele fete au fost fugărite ca nişte vite“

http://m.adevarul.ro/international/europa/marturii-terfiante-tinerelor-agresate-sexual-germania-Tipam-nu-opreau-unele-fete-fost-fugarite-vite-1_568bc1ac37115986c6287261/index.html

Frezii-Honoriu Crețulescu

A global free fall Aka free market economy): US stock markets fall due to renewed concerns about the Chinese economy

US stock markets fall due to renewed concerns about the Chinese economy

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

Blame it on the”Free market economy”…No don’t blame it on Rio…): US stock markets open with worst performance since 2008

US stock markets open with worst performance since 2008

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

Bill Clinton: Hillary is ‘best qualified’ for president because (she stood by me, while I wad having oral sex with…and with…and with…) of advocacy work

Bill Clinton: Hillary is ‘best qualified’ for president because of advocacy work

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Another psychiatric account…as an non-valid explanation: Abu Rumaysah the masked Isis man?

Is Abu Rumaysah the masked Isis man?

http://gu.com/p/4fh3x?CMP=Share_AndroidApp_WordPress

Tearful Obama tightens gun control and tells inactive Congress: ‘We can’t wait’

Tearful Obama tightens gun control and tells inactive Congress: ‘We can’t wait’

http://gu.com/p/4fh75?CMP=Share_AndroidApp_WordPress

historic musical bits: Dinu Lipatti plays Liszt Concerto No. 1 in E flat Orchestre de la Suisse Romande Ernest Ansermet, rec. 1947

Dinu Lipatti plays Liszt Concerto No. 1 in E flat Orchestre de la Suisse Romande
Ernest Ansermet
rec. 1947

gullivior

 

Published on Jun 1, 2013

Orchestre de la Suisse Romande
Ernest Ansermet
rec. 1947
****************************************

Dinu Lipatti

From Wikipedia, the free encyclopedia

 

Dinu Lipatti
Dinu Lipatti
Background information
Born	19 March 1917 Bucharest, Romania
Died	2 December 1950 (aged 33) Geneva, Switzerland
Genres	Classical Music
Occupation(s)	Pianist, Composer
Labels	EMI
Associated acts	Member of the Romanian Academy
Notable instruments
Piano

Dinu Lipatti (Romanian pronunciation: [ˈdinu liˈpati] ( listen); 1 April [O.S. 19 March] 1917 – 2 December 1950) was a Romanian classical pianist and composer whose career was cut short by his death from causes related to Hodgkin’s disease at age 33. He was elected posthumously to the Romanian Academy.

Biography

Constantin Lipatti (from childhood called by the diminutive “Dinu”) was born in Bucharest into a musical family: his father was a violinist who had studied with Pablo de Sarasate and Carl Flesch,^[1] his mother a pianist. For his baptism, which occurred not shortly after birth as is usual, but when he was old enough to play the piano, the violinist and composer George Enescu agreed to be his godfather. Lipatti played a minuet by Mozart at his own baptism.^[1] He studied at the Gheorghe Lazăr High School, while studying piano and composition with Mihail Jora for three years. He then attended the Bucharest Conservatoire, studying under Florica Musicescu, who also taught him privately.^[1] In June 1930, the best pupils at the Conservatoire gave a concert at the Bucharest Opera, and the 13-year-old Lipatti received a huge ovation for his performance of the Grieg Piano Concerto in A minor.^[1] In 1932 he won prizes for his compositions: a Piano Sonatina, and a Sonatina for Violin and Piano. That year he also won a Grand Prize for his symphonic suite Les Tziganes.^[1]

He entered the 1933 Vienna International Piano Competition but finished second to Polish pianist Bolesław Kon, some say controversially. Alfred Cortot, who thought Lipatti should have won, resigned from the jury in protest.^[2] Lipatti subsequently studied in Paris under Cortot, Nadia Boulanger (with whom he recorded some of Brahms‘s Waltzes Op. 39), Paul Dukas (composition) and Charles Munch (conducting). At eighteen, Lipatti gave his recital debut in Paris at the École Normale. On 17 May 1935, three days before the concert, his friend and teacher, Paul Dukas, died and in his memory Lipatti opened his program with J. S. Bach‘s Jesu, Joy of Man’s Desiring in the transcription by Myra Hess,^[1] the first piece he publicly performed as an adult pianist.

Lipatti’s career was interrupted by World War II. Although he gave concerts across the Nazi-occupied territories, as the war grew closer he fled his native Romania with his companion and fellow pianist, Madeleine Cantacuzene, settling in Geneva, Switzerland where he accepted a position as professor of piano at the conservatory. It was at this time that the first signs of his illness emerged. At first, doctors were baffled, but in 1947 he was diagnosed with Hodgkin’s disease^[3]

He and Madeleine eventually married in 1947 but Lipatti’s health continued to decline. As a result, his public performances became considerably less frequent after the war. His energy level was improved for a time by then experimental injections of cortisone and his collaboration with record producer Walter Legge between 1947 and 1950 resulted in the majority of the recordings of Lipatti’s playing.

Lipatti gave his final recital, also recorded, on 16 September 1950 at the Besançon Festival in France. Despite severe illness and a high fever, he gave superb performances of Bach’s Partita No. 1 in B-flat major, Mozart’s A minor Sonata, K. 310, Schubert‘s G flat major and E flat major Impromptus, Op. 90, and thirteen of the fourteen Chopin Waltzes which he played in his own integral order. Coming to the last one, No. 2 in A-flat, he found he was too exhausted to play it and he offered instead Jesu, Joy of Man’s Desiring, the piece with which he had begun his professional career only fifteen years before. He died less than 3 months later in Geneva aged 33, from a burst abscess on his one lung.^[3] Lipatti is buried at the cemetery of Chêne-Bourg next to his wife Madeleine (1915-1982), a noted piano teacher.^{[citation needed]}

Repertoire

Lipatti’s piano playing was, and is, widely appreciated for the absolute purity of his interpretations, at the service of which he used a masterful pianistic technique. Lipatti is particularly noted for his interpretations of Chopin, Mozart and Bach, but he also made recordings of Ravel‘s Alborada del Gracioso, Liszt, Enescu, and the Schumann and Grieg piano concertos. His recording of Chopin’s Waltzes has remained in print since its release and has long been a favorite of many classical music-lovers.^{[citation needed]}

Lipatti never recorded any music of Beethoven. It is a common misconception, however, that Lipatti did not perform Beethoven’s music until late in his career. The Waldstein Sonata had been a feature of Lipatti’s repertoire since 1935. He also performed the Emperor Concerto in Bucharest twice during the 1940–41 season, and even stood ready to record it for EMI in 1949. An internal memo from Lipatti’s recording producer Walter Legge, dated 23 February 1948, states that “Lipatti ha[d] his heart set on doing a Beethoven Concerto in 1949” and nominates the Emperor Concerto, given that Lipatti had already performed it.^{[citation needed]}

A recording of Chopin’s Piano Concerto No. 1 in E minor, originally released under Lipatti’s name, and said to have been a recording of a live performance in Switzerland in May 1948, proved not to be his contribution at all. In 1981, it emerged that the soloist on this recording was in fact a Polish pianist (and a fellow Cortot pupil), Halina Czerny-Stefańska, the joint winner of the 4th International Chopin Piano Competition, playing with the Czech Philharmonic Orchestra under Václav Smetáček. However, later on, an authentic recording by Lipatti of the Chopin Concerto was found.^[4]

The Pulitzer Prize-winning music critic Harold C. Schonberg wrote of Lipatti’s 1947–48 Chopin concert recordings: “this is piano-playing of a stature that few artists of his generation could have come near approaching”.^{[citation needed]}

Legacy

In recognition of his outstanding contributions to classical music interpretation and composition he was posthumously elected in 1997 as a member of the Romanian Academy.^{[citation needed]}

Compositions

In addition to his pianistic accomplishments, Lipatti was a composer, who wrote in a neoclassical style with French and Romanian influences. His works include:

• Les Tziganes, symphonic suite (1934)
• Concertino in Classical Style, Op. 3 for piano and chamber orchestra (1936)
• Symphonie concertante for two pianos and orchestra (1938)
• Piano Sonatina for the left hand (1941)
• Danses roumaines for two pianos (1943) and for orchestra (1945)
• Concerto for organ and piano
• Aubade for woodwind quartet (ob, cl, bn, hn)
• Woodwind quintet – Quintet a vent a Monsieur Roger Cortet (unfinished / first part)
• Improvisation for Piano Trio
• Sonatina for violin and piano
• Piano Sonata in D minor
• Fantasie for piano, Op. 8
• Nocturne for piano
• 4 songs for voice and piano
• 6 Sonatas of Scarlatti (transcription for woodwind quintet)

Notable recordings

• February 1937: Brahms, Waltzes, Op. 39, with Nadia Boulanger
• 14 January 1943: Lipatti, Concertino in Classical Style, with Hans von Benda and the Berlin Chamber Orchestra
• 4 March 1943: Lipatti, Sonatina for the Left Hand (Romanian Broadcasting)
• 18 October 1943: George Enescu, Piano Sonata No. 3 in D, Op. 25
• 1943: Enescu, Violin Sonata No 2 in F minor, Op,. 6 (George Enescu, violin)
• 1943: Enescu, Violin Sonata No. 3 in A minor, Op. 25 “In Romanian Popular Manner” (Enescu, violin)
• 1943: Enescu: Bouree from Suite No. 2 in D, Op, 10
• 20 February 1947: Scarlatti, Sonata in D minor, KK9 “Pastorale”
• 1 & 4 March 1947: Frédéric Chopin, Sonata No. 3 in B minor, Op. 58
• 18 & 29 September 1947: Grieg, Piano Concerto in A minor, with Alceo Galliera and the Philharmonia Orchestra
• 24 September 1947: Liszt, Sonetto del Petrarca no. 104
• 27 September 1947: Scarlatti: Sonata in E, KK 380; Chopin: Nocturne No. 8 in D-flat major, Op. 27, No. 2
• 2 October 1947: Bach, Keyboard Concerto No. 1 in D minor, BWV 1052 (arranged by Busoni), with Eduard van Beinum and the Concertgebouw Orchestra
• 9 & 10 April 1948: Schumann, Piano Concerto in A minor, with Herbert von Karajan and the Philharmonia Orchestra
• 17 April 1948: Maurice Ravel Alborado del gracioso from Miroirs
• 21 April 1948: Chopin, Barcarole in F-sharp major, Op. 60
• c. 1948: Lipatti, Concertino in Classical Style, Op. 3 (live, unidentified conductor and orchestra)
• 7 February 1950: Chopin, Piano Concerto No. 1 in E minor, Op. 11, with Otto Ackermann and the Tonhalle-Orchester Zurich and Chopin, Etudes, Op. 25/5 and Op. 10/5
• 22 February 1950: Schumann, Piano Concerto in A minor, with Ernest Ansermet and the Suisse Romande Orchestra
• 5 July 1950: Chopin, Mazurka No. 32 in C-sharp minor, Op. 50, No. 3
• 6-10 July 1950: Bach, Keyboard Partita No. 1 in B-flat, BWV 825; 4 Bach transcriptions by Busoni, Myra Hess, and Wilhelm Kempff; Mozart, Piano Sonata No. 8 in a, K. 310; Chopin, 14 Waltzes (ordered by Lipatti)
• 23 August 1950: Mozart, Piano Concerto No. 21 in C, K. 467 (Lipatti cadenzas), with Herbert von Karajan and the Orchestre du Festival de Lucerne
• 16 September 1950: Final Recital at Besançon (music of Bach, Mozart, Schubert, and Chopin
  *************************************************

Piano Concerto No. 1 (Liszt)

From Wikipedia, the free encyclopedia

 

 

The main theme of the first movement.

Franz Liszt composed his Piano Concerto No. 1 in E-flat major, S.124 over a 26-year period; the main themes date from 1830, while the final version dates 1849. The concerto consists of four movements and lasts approximately 20 minutes. It premiered in Weimar on February 17, 1855, with Liszt at the piano and Hector Berlioz conducting.

History

The main themes of Liszt’s first piano concerto are written in a sketchbook dated 1830, when Liszt was nineteen years old. He seems to have completed the work in 1849, yet made further adjustments in 1853. It was first performed at Weimar in 1855, with the composer at the piano and Hector Berlioz conducting. Liszt made yet more changes before publication in 1856. Béla Bartók described it as “the first perfect realisation of cyclic sonata form, with common themes being treated on the variation principle”.^{[citation needed]}

Form

The concerto consists of four relatively short movements:

Allegro maestoso

 

 

 

The first entrance in the first movement introduces a motive that is revisited several times.

The orchestra introduces the main theme of the piece with a powerful motif.^[1] It is said that the main theme was set to the words “None of you understand this, haha!” (German: “Das versteht ihr alle nicht, haha!”) to deter any criticism from critics who did not like the piece’s originality.^[2] The piano then comes in with an octave passage, spanning 4 octaves.

A duet is formed between the piano and the clarinet in a quiet and peaceful passage, yet this is soon taken over again by the main theme. Following this, the piano plays fast, downward chromatic octaves, before recapitulating a section from earlier in the movement, this time in G major. The movement finishes with the main theme played by the strings while the piano imitates a harp with fast, quiet arpeggios, culminating with an upwards chromatic scale in sixths, diminishing to ppp volume.

Quasi adagio

The cellos and double basses introduce the Adagio section in a serene, unison cantabile, before the rest of the string section joins. Again, however, the cellos and double basses descend before the piano joins, in una corda. The piano uses the string theme and develops it further, playing in a nocturne-like style with soft, flowing left hand arpeggios and a cantibile melody in the right hand. The section reaches a climax where a strong fortissimo is played followed by a descending diminuendo scale.

After a slight general pause, the whole orchestra joins, again playing the same theme. Then a cello plays the theme while the piano answers quickly and hurriedly with a developmental recitative section. This leads into a passage where solos in the woodwind section play a new theme while the piano plays long trills in the right hand and spread chords in the left. The passage is ended by the piano and clarinet in duet.

Allegretto vivace – Allegro animato

The triangle starts the movement with a string quartet following it. Next, the piano plays the same theme, yet develops it further. This occurs over the whole movement, however previous themes from the last two movements are re-introduced and combined together to give this concerto its unique rhapsody-like form. This movement is decidedly joking in character, with the performance direction at the start of the piano line of “capriccioso scherzando”, and delicate, playful duets between the woodwind and piano occurring throughout. The second half of the movement, however, takes a darker turn, when the piano, after concluding the scherzo section, plays an eerie, tremolando passage in the lower registers, with a development of the first theme played above, at pp dynamic. After this, the downward chromatic octaves reappear, but this time at p level, before the orchestra plays an ascending chromatic section, leading into a tonal recapitulation of the first theme. The movement ends with very similar music as the first movement begins, with a blistering piano passage ending in a F-diminished chord.

Allegro marziale animato

A descending E-flat major scale is played before the orchestra plays a new theme, the final of the concerto. The piano follows this with a blistering solo octaves passage before joining in duet with various solo woodwind instruments in a dainty, lively section, leading onto the rest of the movement, which many consider to be among the hardest music ever written for piano.

The movement continues bringing out all the themes from throughout the concerto at different times and combining them sequentially.

In the final few passages, new chromatic theme is introduced where the piano is playing semi-quavers and tripleted quavers at the same time, an exercise in polyrhythm, while in unison with the strings.

The piece is finished in the bravura style Liszt is famous for, with the now-familiar downward chromatic octaves theme, played in this recapitulation at breakneck presto speed, before changing to contrary chromatic octaves, reaching the tonic key of E-flat major and fff dynamic. The orchestra alone has the last two notes, which Liszt carefully utilised to highlight the importance of the orchestra in the piece, not just as an accompanying device for the piano.

Orchestration

This concerto is scored for a relatively small Romantic orchestra and calls for the following instruments:

Solo Piano

Woodwinds

Piccolo

2 Flutes

2 Oboes

2 Clarinets in B flat

2 Bassoons

Brass

2 Horns in F

2 Trumpets in B flat

3 Trombones (2 Tenor, 1 Bass)

Percussion

Timpani

Cymbals

Triangle

Strings

Violins I, II

Violas

Cellos

Double basses

Media

• Piano Concerto No. 1, mvt. 1 & 2   Menu       0:00   Pianist Debbie Hu with the University of Washington Symphony

  Piano Concerto No. 1, mvt. 3 & 4   Menu       0:00

• Problems listening to the files? See media help.

 

 

 

 

 

 

 

great compositions/performances: Beethoven Piano Sonata No. 15, in D major, Op. 28, – Artur Schnabel

Beethoven Piano Sonata No. 15 in D major Op. 28 – Artur Schnabel

Jacky Tran

Published on Nov 2, 2013

0:00 Allegro
7:18 Andante
14:34 Scherzo: Allegro Vivace
16:40 Rondo: Allegro ma non troppo

Played by Artur Schanbel

great compositions/performances: P. I. Tchaikovsky – Symphony No. 1 “Winter Daydreams” (Fedoseyev),1991

P. I. Tchaikovsky – Symphony No. 1 “Winter Daydreams” (Fedoseyev)

Joseph Aknin

Uploaded on Jan 27, 2012

P. I. Tchaikovsky – Symphony No. 1 “Winter Daydreams” in G minor, Op. 13 (1866)
П. И. Чайковский – Симфония № 1 «Зимние грёзы» соль минор, соч. 13:
1. «Грёзы зимнею дорогой (Dreams of a Winter Journey)». Allegro tranquillo g-moll
2. «Угрюмый край, туманный край» (Land of Desolation, Land of Mists). Adagio cantabile ma non tanto
3. Скерцо (Scherzo). Allegro scherzando giocoso
4. Финал (Finale). Andante lugubre. Allegro maestoso

Moskow Radio Symphony Orchestra
Conductor – Vladimir Fedoseyev
Recorded live at the Alte Oper Frankfurt, 1991
********************************************************

Symphony No. 1 (Tchaikovsky)

From Wikipedia, the free encyclopedia

 

 Tchaikovsky at the time he wrote his first symphony

Pyotr Ilyich Tchaikovsky wrote his Symphony No. 1 in G minor, Winter Daydreams (Russian: Зимние грёзы, Zimniye gryozy), Op. 13, in 1866, just after he accepted a professorship at the Moscow Conservatory: it is the composer’s earliest notable work. The composer’s brother Modest claimed this work cost Tchaikovsky more labor and suffering than any of his other works.^[1] Even so, he remained fond of it, writing to his patroness Nadezhda von Meck in 1883 that “although it is in many ways very immature, yet fundamentally it has more substance and is better than any of my other more mature works.”^[2] He dedicated the symphony to Nikolai Rubinstein.

Form

1. Dreams of a Winter Journey. Allegro tranquillo (2222 4200 timp str)
2. Land of Desolation, Land of Mists. Adagio cantabile ma non tanto (2222 2000 str)

   This movement has an essentially monothematic structure, based on subtle gradations and variations on a single melody.^[3]

3. Scherzo. Allegro scherzando giocoso (2222 2200 timp str)

   This was the earliest movement to be written. Salvaged from the third movement of a piano sonata in C-sharp minor that he had written as a student, Tchaikovsky transposed the movement down a semitone to C minor and replaced the trio with the first of a whole line of orchestral waltzes.

4. Finale. Andante lugubre—Allegro maestoso (3222 4231 timp cymbals bass-drum str)

   Tchaikovsky uses the folk-song “Распашу ли я млада, младeшенка” (Raspashu li ya mlada, mladeshenka) as the basis for both the introduction and the second subject. This song also colors the vigorous first subject. Tchaikovsky had borrowed the folk-song motive into the prelude and the finale of his Cantata for the Opening of the Polytechnic Exhibition in Moscow 1872 (commemorating the bicentenary of the birth of Peter the Great).^[4]

Instrumentation

The symphony is scored for piccolo, two flutes, two oboes, two clarinets (A, B-flat), two bassoons, four horns (E-flat, F), two trumpets (C, D), three trombones, tuba, timpani, cymbals, bass drum and strings.

Overview

Composition

Tchaikovsky started writing this symphony in March 1866. Work proved sluggish. A scathing review by César Cui of the cantata he had written as a graduation piece from the St. Petersburg Conservatory shattered his morale. He also composed day and night. All these factors strained Tchaikovsky’s mental and physical health tremendously. He started suffering from insomnia, from pains in his head which he thought to be strokes, and became convinced he would not live to finish the symphony.^[5] A successful performance of his revised Overture in F in St. Petersburg lifted his spirits. So did a change of scene for the summer with his family. Nevertheless, he soon worked himself again into nervous and physical exhaustion by continuing to compose day and night. A doctor declared him “one step away from insanity,” ordering complete rest. Tchaikovsky complied.

Despite his lack of progress, Tchaikovsky sought the opinion of his former teachers, Anton Rubinstein and Nikolai Zaremba, when he returned to St Petersburg at the end of August.^[6] He had hoped for their approval of what he had written as well as accepting at least part of it for a St Petersburg concert of the Russian Musical Society (RMS). Neither situation happened. Both men were negative, refusing to perform any of the symphony.^[7] He stopped work to fulfill his first public commission, a festival overture based on the Danish national anthem to celebrate the Moscow visit of the future Tsar Alexander III of Russia with his new Danish bride.^[8] Once the commission was finished, Tchaikovsky completed the symphony before the conservatory’s Christmas break. This included modifications requested by Rubinstein and Zaremba as a condition for reconsidering the work.

Tchaikovsky resubmitted the manuscript to Rubinstein and Zaremba during the Christmas break. Even with their insisted changes, they still disapproved of the symphony on the whole; however, this time they passed the adagio and scherzo as “being fit for performance”. These two movements were played at an RMS concert in St Petersburg on February 23, 1867, with no success.^[9] Tchaikovsky, who had looked upon St Petersburg as the premier musical location in Russia and been obsessed with having his symphony performed there first, was thoroughly disillusioned — not only with St Petersburg audiences, but also with the critical judgments of both his former teachers. He discarded all the revisions they had demanded, standing with one exception by his original version. The exception, it turned out, was unavoidable. At Zaremba’s insistence, he had composed a new second subject for the opening movement. He had discarded the papers that contained his original second subject, and he could not remember what he had originally composed. Tchaikovsky had to let the second subject as approved by Zaremba stand as it was.^[10]

Back in Moscow, Anton’s brother Nikolai was willing to perform the symphony; only the composer’s insistence on a St Petersburg performance held him back. Tchaikovsky now allowed him to conduct the scherzo at a Moscow concert of the RMS on December 22. Though the scherzo met with little success, Rubinstein was still ready to perform the complete work. This finally took place on February 15, 1868, to great success. Surprisingly, though, the symphony would have to wait 15 years for its next performance.^[11] The first performance of the revised version took place in Moscow on December 1, 1883, under the baton of Max Erdmannsdörfer.

Struggles with form

Tchaikovsky freely confessed later in life that he could not write within the proper rules of Western sonata form—those rules of exposition and organic growth and development of themes that Germanic composers such as Haydn and Mozart had invented. Anton Rubinstein was a slavish follower of those rules in his own works. That may in turn have been a handicap for Tchaikovsky in writing Winter Dreams. He could not write a symphony that would please Rubinstein by staying firmly within a classical format while writing music that would stay true to his strengths as a composer.^[12]

This does not mean that Tchaikovsky was completely unable to work within musical form. While his natural aptitude for organic symphonic procedures may have certainly been limited, he may have actually done himself less than full justice.^[13] This was Tchaikovsky’s first large-scale work. Rubinstein and Zaremba’s interference did not help: they only added to anxieties Tchaikovsky would have naturally had, in any case. Complicating matters, as would happen throughout the composer’s career, his finest asset as a composer actually worked against him—namely, he was simply too successful a melodist, and melodies are extremely unamenable to symphonic development.^[14]

The First Symphony forced Tchaikovsky to face the facts in one very important way. Before beginning it, he had been content to mould his music as best he could to the practice of previous composers. Winter Dreams forced him to realize he would have to work “around the rules” for him to grow and develop as a composer.^[15] This meant adapting sonata form and symphonic structure to accommodate the music he was gifted to write. He would often show tremendous resourcefulness in doing this, even in this symphony. As musicologist David Brown wrote, “The opening stretch of the first movement is enough to scotch the hoary old legend that Tchaikovsky was devoid of any real symphonic aptitude.”^[13]

Influences

Teachers

As opposed to the forward-looking tendencies of The Five, Anton Rubinstein and his followers remained suspicious, even hostile, to new trends in music. Instead, they attempted to preserve in their own works what they saw as the best in the Western tradition in the immediate past.^[16] Though not active as a composer, Nikolai Zaremba was no exception to this rule. He idolized Beethoven, particularly the late works, but his personal tastes had progressed no further than Mendelssohn.^[17] Rubinstein, a highly prolific composer in his own right, was almost as backward-looking as Zaremba, writing in a Germanic style similar to Schumann and Mendelssohn. Though as a teacher Rubinstein would try to foster his students’ imaginations, he also expected them to remain as conservative as he was.^[18]

Mendelssohn

Over the summer holiday with his family in 1866, when evening activities turned to music, Tchaikovsky invariably played Mendelssohn’s Italian Symphony, Schumann’s First or Third Symphonies, or Das Paradies und die Peri.^[7] Mendelssohn’s presence is strong in Winter Daydreams, with a grace, lightness and pace throughout. The scherzo especially could have stepped from A Midsummer Night’s Dream.^[19] Both the symphony’s subtitle and those of the first two movements—”Dreams of a Winter Journey” and “Land of Desolation, Land of Mists”—betray a possible fondness of Mendelssohn’s ability to express in symphonic form a personal experience arising out of emotion at a romantic landscape, though Tchaikovsky did not carry through this idea to the end (the latter two movements lack subtitles).^{[citation needed]}

Russia

Even with these influences, Russian writer Daniel Zhitomirsky explains, “the subject, the genre and intonation” of Tchaikovsky’s writing are closely intwined with Russian life and folk music.”^[20] Warrack notes that “the obsessive thirds of Russian folk-song permeate Tchaikovsky’s tunes; and he must also at some time been haunted by the interval of the falling fourth, so strongly does it colour the invention in the early symphonies, always prominently placed in the melodies and acting as emotional coloration rather than implying a harmonic progression.”^[21]

 

Saint of the Day for Tuesday, January 5th, 2016 : St. John Neumann

Saint of the Day for Tuesday, January 5th, 2016

St. John Neumann

This American saint was born in Bohemia in 1811. He was looking forward to being ordained in 1835 when the bishop decided there would be no more ordinations. It is difficult for us to imagine now, … continue reading

More Saints of the Day

St. John Neumann St. Apollinaris Syncletica St. Cera St. Charles of Sezze St. Convoyon St. Emiliana St. Gaudentius St. Genoveva Torres Morales St. Gerlac Bl. Jacques Ledoyen

St. John Nepomucene Neumann St. Lomer Bl. Marcelina Darowska Martyrs of Egypt St. Paula St. Roger St. Syncletica St. Syncletica of Alexandria St. Talida

today’s holiday: Twelfth Night

Twelfth Night

In England, the evening before the Epiphany is called Epiphany Eve, or Twelfth Night, and it traditionally marks the end of the Christmas season. Celebrations reflect ancient Winter Solstice rites encouraging the rebirth of the New Year and also the Magi‘s visit to the Christ child. Pageants held on this night typically include masked figures, costumed musicians, and traditional dances. Customarily, the Twelfth Night cake is sliced and served, and the man who gets the hidden bean and the woman the pea are the king and queen for the festivities. More… Discuss

Quotation: Wine is a turncoat; first a friend and then an enemy. Henry Fielding (1707-1754)

Wine is a turncoat; first a friend and then an enemy.

Henry Fielding (1707-1754) Discuss

today’s birthday: Alvin Ailey, Jr. (1931)

Alvin Ailey, Jr. (1931)

American choreographer and dancer Alvin Ailey, Jr., formed his own company, the American Dance Theater—now called the Alvin Ailey American Dance Theater—in 1958. Multiracial since 1963, Ailey’s dance company has been internationally acclaimed and has brought recognition to many African-American and Asian dancers. His works, influenced by jazz, Afro-Caribbean, and modern dance, explore a wide range of black experience, from gospel music to social inequality. What is his most popular work? More… Discuss

this day in the yesteryear: Louis XV of France Survives Assassination Attempt (1757)

Louis XV of France Survives Assassination Attempt (1757)

Louis XV was king of France from 1715 to 1774. An orphan from age three, Louis succeeded to the throne upon the death of his great-grandfather Louis XIV, under the regency of the duke of Orléans. In 1757, the unpopular king was stabbed in the side by Robert Damiens. Convinced he was dying, Louis called for a confessor and begged his wife to forgive his infidelities. The small blade had, however, done little damage, and the king survived. How did Voltaire mock the king’s allegedly shallow wound? More… Discuss

Mandala Airlines Flight 091

Mandala Airlines Flight 091

On September 5, 2005, a Jakarta-bound jetliner operated by Mandala Airlines crashed into a heavily populated residential area mere seconds after taking off from Polonia International Airport. At least 39 people on the ground and 104 passengers reportedly died in the incident. The plane had been inspected only a few months earlier and was deemed airworthy. Some suspect that the crash resulted from illegal overloading of the flight. Supposedly, more than two tons of what was onboard? More… Discuss

word: endothermic

endothermic

Definition:	(adjective) Characterized by or causing the absorption of heat; endoergic.
Synonyms:	heat-absorbing, endothermal
Usage:	Endothermic reactions are often described as reactions that “feel cold,” and they contrast with exothermic reactions, in which heat is released. Discuss.

Transparency un-uniform:The Walton Lighthouse

El Nino storms slam drought-parched California

http://news.yahoo.com/el-nino-storms-slam-drought-parched-california-093650311.html
El Nino storms slam drought-parched California