Daily Archives: June 1, 2019

Watch “Ottorino Respighi – Gli Uccelli / Les Oiseaux / The Birds” on YouTube


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The Birds (Italian: Gli uccelli) is a suite for small orchestra by the Italian composer Ottorino Respighi. Dating from 1928, the work is based on music from the 17th and 18th-century[1] and represents an attempt to transcribe birdsong into musical notation, and illustrate bird actions, such as fluttering wings, or scratching feet. The work is in five movements:

The suite was used for the ballet of the same name, with choreography by Cia Fornaroli, first performed at Sanremo Casinò Municipale on 19 February 1933; with choreography by Margarita Wallmann at the Teatro Colón, Buenos Aires, on 27 February 1940; and by Robert Helpmann, with design by Chiang Yee, by the Sadler’s Wells Ballet at the New Theatre, London on 24 November 1942.[2]

Between 1965 and 1977 the first movement was used as the opening and closing theme for BBC TV series Going for a Song. The music played along with the sound of a bird in a cage automaton.

InstrumentationEdit

ReferencesEdit

  1. ^ Harry Beard, “Ottorino Respighi” (obituary) , The Musical Times (June 1936), 77 (1120): pp. 555-556
  2. ^ Arnold Haskell (ed.), Gala Performance (Collins 1955) pg. 215

External linksEdit

Horoscope ♉: 06/01/2019


Horoscope ♉:
06/01/2019

Authorities who have been your guides up to now may confront you. The hour is here to set aside your fears and lead yourself along your path. This is undoubtedly a very positive state of affairs. It means that you’re maturing, Taurus. Besides, there’s nothing to stop you from asking for help from time to time, should you need it.: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Today’s Holiday: St. Elmo’s Day


Today’s Holiday:
St. Elmo’s Day

The day known as St. Elmo’s Day is actually St. Erasmus’s Day, in honor of a third-century Italian bishop who is thought to have suffered martyrdom around the year 304. Erasmus was a patron saint of sailors and was especially popular in the 13th century. Sometimes at sea on stormy nights, sailors will see a pale, brushlike spray of electricity at the top of the mast. In the Middle Ages, they believed that these fires were the souls of the departed, rising to glory through the intercession of St. Elmo. Such an electrical display is still referred to as “St. Elmo’s Fire.” More…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Today’s Birthday: Edward Elgar (1857)


Today’s Birthday:
Edward Elgar (1857)

Elgar was an English composer whose oratorio The Dream of Gerontius is considered one of the finest examples of English choral music in history. He received his training from his father and succeeded him as organist of St. George’s Church, Worcester, in 1885. He earned recognition for his Imperial March, composed in 1897 for Queen Victoria’s diamond jubilee, and for his Enigma Variations. His most popular works are his five marches, the first of which is what famous song? More…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

This Day in History: Pontiac’s Rebellion: Ojibwas Capture Fort Michilimackinac (1763)


This Day in History:
Pontiac’s Rebellion: Ojibwas Capture Fort Michilimackinac (1763)

In 1763, immediately after the French and Indian Wars, several Native American tribes allied against the British in an uprising that became known as Pontiac’s Rebellion, after the Ottawa leader Pontiac. They captured and destroyed many British outposts. On the day of the surprise attack on Fort Michilimackinac, the Ojibwas, or Chippewas, approached the fort without arousing suspicion among the watching British soldiers by staging a game of baaga’adowe—the precursor of what modern sport? More…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Quote of the Day: Henry Fielding


Quote of the Day:
Henry Fielding

He died…of a broken heart, a distemper which kills many more than is generally imagined. More…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Article of the Day: The Moscow Mathematical Papyrus


Article of the Day:
The Moscow Mathematical Papyrus

Also called the Golenischev Mathematical Papyrus, after the Russian Egyptologist who purchased it in Thebes during the late 19th century, the Moscow Mathematical Papyrus is one of the oldest known Egyptian mathematical papyri. The 18-foot- (5.5-meter-) long papyrus likely dates to the 13th dynasty of Egypt, which began around 1773 BCE and ended after 1650 BCE. It contains 25 mathematical problems and solutions, many of which feature a variable indicating the strength of what alcoholic beverage? More…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Idiom of the Day: have other fish to fry


Idiom of the Day:
have other fish to fry

To have more important or more interesting things to do or attend to. Watch the video…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Word of the Day: dewy-eyed


Word of the Day:
dewy-eyed

Definition: (adjective) Naive, innocent, or trusting, especially in a romantic or childlike way.

Synonyms: childlike, simple

Usage: I knew that if I ever told her the truth about what I had done, she would lose that dewy-eyed innocence that I had worked so hard to preserve.: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Watch “NCIS – The Top 10 Best Music Moments” on YouTube


Watch “Ottorino Respighi – Feste Romane / Roman Festivals” on YouTube


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Roman Festivals(Respighi)

Roman Festivals (Italian: Feste Romane) is a symphonic poem written in 1928[1] by the Italian composer Ottorino Respighi. It is the third orchestral work in his “Roman trilogy”, preceded by Fountains of Rome(1916) and Pines of Rome (1924). Each of the four movements depict a scene of celebration from ancient or modern Rome. It is the longest and most demanding of the trilogy,[2] and thus it is less-often programmed than its companion pieces. Its premiere was performed by the New York Philharmonic Orchestra with conductor Arturo Toscanini in 1929.

StructureEdit

The first movement, Circuses (Circenses), depicts the ancient contest in which gladiators battled to the death, with the sound of trumpet fanfares. Strings and woodwinds suggest the plainchant of the first Christian martyrs which are heard against the snarls of the beasts against which they are pitted. The movement ends with violent orchestral chords, complete with organ pedal, as the martyrs succumb.

Next, the Jubilee (Giubileo), portrays the every-fiftieth-year festival in the Papal tradition (see Christian Jubilee). Pilgrims approaching Rome catch a breath-taking view from Mt. Mario, as church bells ring in the background.

The third movement, Harvest of October (L’Ottobrata), represents the harvest and hunt in Rome. The French horn solo celebrates the harvest as bells and a mandolin portray love serenades.

The final movement, Epiphany (La Befana), takes place in the Piazza Navona. Trumpets sound again and create a festive clamour of Roman songs and dances, including a barrel organ and a drunken reveler depicted by a solo tenor trombone.

InstrumentationEdit

Feste Romane is scored for the following large orchestra, including some unusual instruments intended to suggest music of earlier times:[3][4]

1 Respighi noted that the Buccine may be replaced by trumpets, a substitution which most modern orchestras make.[2]

Performance HistoryEdit

Arturo Toscanini and the New York Philharmonic Orchestra premiered the music in Carnegie Hall in 1929.[2]Toscanini recorded it with the Philadelphia Orchestra in the Academy of Music in 1942 for RCA Victor. He recorded it again with the NBC Symphony Orchestra in Carnegie Hall in 1949, again for RCA. Both recordings were issued on LP and CD. Indeed, the 1949 performance pushed the very limits of the recording equipment of the time as Toscanini insisted the engineers capture all of the dynamics of the music, especially in Circuses and Epiphany.

The piece was first performed in Italy at the Augusteo in Rome on 17 March 1929, by the Orchestra of the Accademia di Santa Cecilia under Bernardino Molinari.[5]

ArrangementsEdit

This work was transcribed (in the original key) for the United States Marine Band by Don Patterson in 2010. This transcription was recorded on the CD Feste, conducted by Michael J. Colburn.

AppearancesEdit

  • The movement Circenses is played on BBC Radio 4 Educational Radio series in the 1980s, Roman Britain during an Introduction.

ReferencesEdit

  1. ^ Oxford Dictionary of Musichttp://www.oxfordmusiconline.com/subscriber/article/opr/t237/e3689. Retrieved 6 July 2015. Missing or empty |title= (help)
  2. ^ a b c Freed, Richard (Sep 2003). “Program notes to Feste Romane”. http://www.kennedy-center.org.
  3. ^ Rodman, Michael. “Feste romane (Roman Festivals), symphonic poem, P.157”. http://www.allmusic.com.
  4. ^ Mangum, John. “Feste Romane”. http://www.laphil.com.
  5. ^ “Program from concert premiere”. Mar 1929. Missing or empty |url=(help)

Watch “Ottorino Respighi: Pini di Roma (“The Pines of Rome”) CSO Fritz Reiner conducting.” on YouTube


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Pines of Rome (Italian title: Pini di Roma) is a four-movement symphonic poem for orchestra completed in 1924 by the Italian composer Ottorino Respighi. The piece, which depicts pine trees in four locations in Rome at different times of the day, is the second of Respighi’s trilogy of tone poems based on the city, along with Fountains of Rome (1917) and Roman Festivals (1928). It premiered on 14 December 1924 at the Augusteo Theatre in Rome with Bernardino Molinariconducting the Augusteo Orchestra, now known as the Orchestra dell’Accademia Nazionale di Santa Cecilia.

Pines of Rome
Tone poem by Ottorino Respighi
Native name Pini di Roma
Catalogue P 141
Composed 1924
Duration Approx. 21 minutes
Premiere
Date 14 December 1924
Location Rome, Italy
Conductor Bernardino Molinari
Performers Augusteo Orchestra

BackgroundEdit

Pines of Rome is the third tone poem for orchestra in Respighi’s collection of works. Similar to that of a symphony, the piece is a suite of four movements, each depicting pine trees located in different areas in the city of Rome at different times of the day.[1] Respighi wrote a short description of each movement.[1]

StructureEdit

The first movement is based on a scene at the Villa Borghese gardens

Pines of the Villa Borghese (I pini di Villa Borghese, allegretto vivace)[2]

This movement portrays children playing by the pine trees in the Villa Borghese gardens, dancing the Italian equivalent of the nursery rhyme “Ring a Ring o’ Roses” and “mimicking marching soldiers and battles; twittering and shrieking like swallows”.[2] The Villa Borghese, a villa located within the grounds, is a monument to the Borghese family, who dominated the city in the early seventeenth century.

The Pines Near a Catacomb (I pini presso una catacomba, lento)[2]

In the second movement, the children suddenly disappear and shadows of pine trees that overhang the entrance of a catacomb dominates.[2] It is a majestic dirge, conjuring up the picture of a solitary chapel in the deserted Campagna; open land, with a few pine trees silhouetted against the sky. A hymn is heard (specifically the Kyrie ad libitum 1, Clemens Rector; and the Sanctus from Mass IX, Cum jubilo), the sound rising and sinking again into some sort of catacomb, the subterranean cavern in which the dead are immured. An offstage trumpet plays the Sanctus hymn. Lower orchestral instruments, plus the organ pedal at 16′ and 32′ pitch, suggest the subterranean nature of the catacombs, while the trombones and horns represent priests chanting.

The Pines of the Janiculum (I pini del Gianicolo, lento)[2]

The end of the third movement features the song of a nightingale, similar to this one, which Respighi incorporated into the score

The third is a nocturne set on Janiculum hill. The full moon shines on the pines that grow on the hill of the temple of Janus, the double-faced god of doors and gates and of the new year. Respighi took the opportunity to have the sound of a nightingale recorded onto a phonographand requested in the score that it be played at the movement’s ending, the first of such an instance in music. The original score also mentions a specific recording that references a Brunswick Panatroperecord player. According to author Martin Brody, the nightingale was recorded in the yard of the McKim Building of the American Academy in Rome situated on Janiculum hill.[3]

The Pines of the Appian Way (I pini della Via Appia, tempo di marcia)[2]

Respighi recalls the past glories of the Roman republic in a representation of dawn on the great military road leading into Rome. The final movement portrays pine trees along the Appian Way (Latinand Italian: Via Appia) in the misty dawn, as a triumphant legion advances along the road in the brilliance of the newly-rising sun. Respighi wanted the ground to tremble under the footsteps of his army and he instructs the organ to play bottom B on the 8 foot, 16 foot and 32 foot organ pedals. The score calls for six buccine – ancient circular trumpets that are usually represented by modern flugelhorns, and which are sometimes partially played offstage. Trumpets peal and the consular army rises in triumph to the Capitoline Hill.

InstrumentationEdit

The score of Pines of Rome calls for three flutes (third doubling piccolo), two oboes, cor anglais, two clarinets in B and A, bass clarinet in B and A, two bassoons, contrabassoon; four horns in F and E, three trumpets in B, two tenor trombones, bass trombone, tuba, six buccine in B (two sopranos, two tenors, two basses; usually played on flugelhornsand saxhorns); a percussion section with timpani, bass drum, snare drum, cymbals, two small cymbals, tam-tam, triangle, ratchet, tambourine, glockenspiel; organ, piano, celesta; harp; gramophone; and strings.

Performances and recordingsEdit

Pines of Rome had its premiere on 14 December 1924 at the Augusteo Theatre in Rome, under the direction of Italian conductor Bernardino Molinari, to a positive reception.[4] On 14 January 1926, conductor Arturo Toscanini directed his first concert with the New York Philharmonic which included the American premiere of Pines of Rome. He also performed the piece at his last performance with the orchestra, in 1945. Respighi, who had arrived in the US to undergo a concert tour in December 1925, conducted the work with the Philadelphia Orchestra a day after Toscanini’s American premiere.[5][6]

Pines of Rome is easily the most prolifically recorded of all Respighi’s works, frequently released as part of his trilogy of Roman-inspired works, but just as often not. As of 2018, more than 100 recordings of the piece are currently available on physical media alone.[7]

Lorenzo Molajoli and Ettore Panizza both made recordings with the Milan Symphony Orchestra; Molajoli’s recording was released by Columbia Records and Panizza’s recording was released by Odeon and Decca Records. In 1935, Piero Coppola and the Paris Conservatory Orchestra recorded the music for EMI, released by in the UK by His Master’s Voice and in the US by RCA Victor on 78 rpm discs.[8] Toscanini recorded the music with the NBC Symphony Orchestrain Carnegie Hall in 1953. The music was recorded in stereophonic sound by Fritz Reiner and the Chicago Symphony Orchestra in Orchestra Hall in 1957, also for RCA.

Use in film and elsewhereEdit

  • The piece was used in Fireworks(1947), an avant-garde film directed by Kenneth Anger. [9]
  • The piece (sections from it) was also used throughout the entirety of A Movie(1958) by Bruce Conner. [10]
  • The very opening of the work was used at the beginning of the 1983 song “City of Love” released on the album 90125by the rock band Yes [11]
  • An edited version was used to accompany “flying”, frolicking humpback whales in the film Fantasia 2000. The second movement is omitted, along with the nightingale’s song in the third and the English horn solo in the fourth. [12]

References

Watch “Jean Moscopol – Guvernul Comunist” on YouTube (sa moara psd)


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