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Joined: Feb 29, 2008
Member#: 51
Posts: 309
Location: Vienna, Austria
Posted:
Fri Feb 25, 2011 5:36 pm Post subject:
Hector Berlioz (1803-1869)
Symphonie Fantastique
This is a joint performance with the Simon Bolivar Youth Orchestra and the Radio France Symphony Orchestra played in the Salon Playel in Paris in 2009, conducted by Gustavo Dudamel
I. "Rêveries, Passions" (Largo - Allegro agitato e appassionato assai)
II. "Un Bal" (Allegro non troppo)
III. "Scène aux champs" (Adagio)
IV. "Marche au supplice" (Allegretto non troppo)
V. "Songe d'une nuit du Sabbat" (Larghetto - Allegro)
_________________ "If our music survives, which I have no doubt it will, then it will because it is good!"
Jerry Goldsmith (1929-2004), composer
bpewien
Lieutenant Commander
Joined: Feb 29, 2008
Member#: 51
Posts: 309
Location: Vienna, Austria
Posted:
Sun Mar 20, 2011 6:19 pm Post subject:
Robert Schumann (1810-1856)
Piano Concerto a-minor, op.54
Martha Argerich, piano
Gewandhausorchester Leipzig
Riccardo Chailly, conductor
(performance recorded on June 1-2-2006)
I. Allegro affettouso
II. Andantino grazioso
III. Allegro vivace
_________________ "If our music survives, which I have no doubt it will, then it will because it is good!"
Jerry Goldsmith (1929-2004), composer
Martha Argerich!!!! What a passionate performer! _________________ The secret of not having worries, is to have ideas.
Eugene Delacroix
bpewien
Lieutenant Commander
Joined: Feb 29, 2008
Member#: 51
Posts: 309
Location: Vienna, Austria
Posted:
Tue Mar 22, 2011 4:25 pm Post subject:
Something to relax ^^
Johann Strauss jr. (1825-1899)
Blue Danube Waltz
Wiener Philharmoniker
Franz Welser-Möst
(New Years Eve Concert 2011)
_________________ "If our music survives, which I have no doubt it will, then it will because it is good!"
Jerry Goldsmith (1929-2004), composer
bpewien
Lieutenant Commander
Joined: Feb 29, 2008
Member#: 51
Posts: 309
Location: Vienna, Austria
Posted:
Tue May 17, 2011 7:31 pm Post subject:
George Enescu
(known in France as Georges Enesco; 19 August 1881, Liveni - 4 May 1955, Paris) was a Romanian composer, violinist, pianist, conductor and teacher.
Romanian Rhapsody No. 1 in A major, op. 11 (1901)
Detroit Symphony Orchestra, conducted by Antal Dorati
_________________ "If our music survives, which I have no doubt it will, then it will because it is good!"
Jerry Goldsmith (1929-2004), composer
malaise
Cadet 1
Joined: Apr 15, 2011
Member#: 1579
Posts: 2
Posted:
Fri Jun 10, 2011 3:30 am Post subject:
nil
Last edited by malaise on Mon Nov 20, 2023 8:19 am; edited 1 time in total
bpewien
Lieutenant Commander
Joined: Feb 29, 2008
Member#: 51
Posts: 309
Location: Vienna, Austria
Posted:
Thu Sep 08, 2011 7:54 pm Post subject:
Richard Strauss (1864-1949)
Metamorphosen for 23 solo strings
Quote:
Metamorphosen is a composition for 23 solo strings (ten violins, five violas, five cellos, and three double basses) by Richard Strauss. Written during the closing months of the Second World War, and first performed in January 1946 (by Paul Sacher and the Zürich Collegium Musicum), it was written as a statement of mourning for Germany's destruction during the war, in particular the bombing of the Munich Opera House, and the Goethehaus, which Strauss called in a letter to opera librettist Joseph Gregor, "the world's most holy shrine — destroyed!"
The piece uses as its primary motivic element a passage from the funeral march in Beethoven's Eroica Symphony. During the final bars of the piece, several bars of the funeral march are quoted explicitly in the bass part (rather than just being briefly and repeatedly alluded to, as earlier), accompanied by the words "In Memoriam" in the score. According to Michael Kennedy's biography Richard Strauss: Man, Musician, Enigma (1999), one hostile early critic, the Dutchman Matthijs Vermeulen, interpreted the composition as mourning Hitler and the dismantlement of the Nazi regime. Nevertheless, it is generally accepted now that Strauss's melancholy in the piece stems from the toll of war on German culture in general.
As one of Strauss's last works, Metamorphosen masterfully exhibits the complex counterpoint for which the composer showed a predilection throughout his creative life.
Philadelphia Orchestra, conducted by Eugene Ormandy
- - - - - - - - - - - - - - - - - - - - - - - -
And here a version (arranged for string septett) where you can read the score with
Staatskapelle Weimar, conducted by Antoni Wit
_________________ "If our music survives, which I have no doubt it will, then it will because it is good!"
Jerry Goldsmith (1929-2004), composer
Last edited by bpewien on Thu May 31, 2012 1:11 pm; edited 1 time in total
bpewien
Lieutenant Commander
Joined: Feb 29, 2008
Member#: 51
Posts: 309
Location: Vienna, Austria
Posted:
Tue Dec 06, 2011 11:30 am Post subject:
Gustav Mahler (1860-1911)
Symphony Nr.10 - Adagio
Mahler started his work on his Tenth Symphony in July 1910 in Toblach, and ended his efforts in September the same year. He never managed to complete the orchestral draft before his premature death at the age of fifty from a streptococcal infection of the blood.
Mahler's drafts and sketches for the Tenth Symphony comprise 72 pages of full score, 50 pages of continuous short score draft (2 pages of which are missing), and a further 44 pages of preliminary drafts, sketches, and inserts.
In the form in which Mahler left it, the symphony consists of five movements:
1. Andante -- Adagio: 275 bars drafted in orchestral and short score.
2. Scherzo: 522 bars drafted in orchestral and short score.
3. Purgatorio. Allegro moderato: 170 bars drafted in short score, the first 30 bars of which were also drafted in orchestral score.
4. Scherzo. Nicht zu schnell]: about 579 bars drafted in short score.
5. Finale. Langsam, schwer: 400 bars drafted in short score.
The parts in short score were usually in four staves. The designations of some movements were altered as work progressed: for example the second movement was initially envisaged as a finale.
The fourth movement was also relocated in multiple instances.
Mahler then started on an orchestral draft of the symphony, which begins to bear some signs of haste after the halfway point of the first movement. He had gotten as far as orchestrating the first two movements and the opening 30 bars of the third movement when he had to put aside work on the Tenth to make final revisions to the Ninth Symphony.
The circumstances surrounding the composition of the Tenth were highly unusual. Mahler was at the height of his compositional powers, but his personal life was in complete disarray, most recently compounded by the revelation that his young wife Alma had had an affair with the architect Walter Gropius.
Mahler sought counselling from Sigmund Freud, and on the verge of its successful première in Munich, dedicated the Eighth Symphony to Alma in a desperate attempt to repair the breach. The unsettled frame of Mahler's mind found expression in the despairing comments (many addressed to Alma) written on the manuscript of the Tenth, and must have influenced its composition: on the final page of the short score in the final movement, Mahler wrote, "für dich leben! für dich sterben!" (To live for you! To die for you!) and the exclamation "Almschi!" underneath the last soaring phrase.
Conductor: Leonard Bernstein & Wiener Philharmoniker
_________________ "If our music survives, which I have no doubt it will, then it will because it is good!"
Jerry Goldsmith (1929-2004), composer
bpewien
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Joined: Feb 29, 2008
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Location: Vienna, Austria
There continues to be some controversy over the numbering of this symphony, with German-speaking scholars sometimes numbering it as symphony No. 7, the most recent version of the Deutsch catalog (the standard catalogue of Schubert's works, compiled by Otto Erich Deutsch) listing it as No. 8, and English-speaking scholars often listing it as No. 9. Many American orchestras have dropped the numbering altogether since the mid-1980s and in printed programs merely title it the "Great" C major Symphony.
Following the standard symphonic form, there are four movements:
I. Andante - Allegro ma non troppo — Piu Moto
II. Andante con moto in A minor
III. Scherzo. Allegro vivace Trio in C major/A major
IV. Finale. Allegro vivace
Often considered Schubert’s finest piece for orchestra, this symphony is also one of the composer’s most innovative pieces. Thematic development in the style of Beethoven is still present in the work, but Schubert puts far more emphasis on melody, which one might expect from the composer of some six hundred lieder. In fact, this new style prompted Schumann to pursue his own symphonic ambitions. The symphony is scored for 2 flutes, 2 oboes, 2 clarinets in A and C, 2 bassoons, 2 horns in C, 2 trumpets in A and C, 3 trombones, timpani, and strings.
Beethoven had always used the trombone as an effect, and therefore very sparingly, or, in the case of Beethoven’s Ninth Symphony, also to double the alto, tenor, and bass parts of the chorus as was common in sacred music and opera at the time. However, in both Schubert’s Unfinished Symphony and the Ninth Symphony, trombones are liberated from these roles and have far more substantial parts.
Wolfgang Sawallisch conducting the Vienna Philharmonic Orchestra
_________________ "If our music survives, which I have no doubt it will, then it will because it is good!"
Jerry Goldsmith (1929-2004), composer
bpewien
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Joined: Feb 29, 2008
Member#: 51
Posts: 309
Location: Vienna, Austria
The full title Ives originally gave the piece was "A Contemplation of a Serious Matter" or "The Unanswered Perennial Question". His biographer Jan Swafford called it "a kind of collage in three distinct layers, roughly coordinated." The three layers involve the scoring for a woodwind quartet, solo trumpet, and offstage string quartet. Each layer has its own tempo and key. Ives himself described the work as a "cosmic landscape" in which the strings represent "the Silences of the Druids—who Know, See and Hear Nothing." The trumpet then asks "The Perennial Question of Existence" and the woodwinds seek "The Invisible Answer", but abandon it in frustration, so that ultimately the question is answered only by the "Silences".
Ives polished the score in 1908, then from 1930-1935 he worked on a version of The Unanswered Question for orchestra. The premiere performance of this version occurred on May 11, 1946, played by a chamber orchestra of graduate students at the Juilliard School and conducted by Theodore Bloomfield. The same concert featured the premieres of Central Park in the Dark and String Quartet No. 2. The original version of the work was not premiered until March 1984, when Dennis Russell Davies and the American Composers Orchestra performed it in New York City.
Linda Mack called The Unanswered Question "a study in contrasts. Strings intone slow diatonic, triadic chords; a solo trumpet asks the question seven times; the flutes try to answer the question, each time getting more and more agitated and atonal." Leonard Bernstein added in his 1973 Norton Lectures which borrowed its title from the Ives work that the woodwinds are said to represent our human answers growing increasingly impatient and desperate, until they lose their meaning entirely. Meanwhile, right from the very beginning, the strings have been playing their own separate music, infinitely soft and slow and sustained, never changing, never growing louder or faster, never being affected in any way by that strange question–and–answer dialogue of the trumpet and the woodwinds. Bernstein also talks about how the strings are playing tonal triads against the trumpet's non tonal phrase. In the end, when the trumpet asks the question for the last time, the strings “are quietly prolonging their pure G major triad into eternity”[4]. This piece graphically represents the 20th century dichotomy of both tonal and non tonal music going on at the same time.
Another view of the piece was written by Jan Swafford:
The ‘cosmic landscape’ of The Unanswered Question, a trumpet repeatedly poses ‘the eternal question of existence’ against a haunting background of strings, finally to be answered by an eloquent silence. By that work of 1906, Ives was over half a century ahead of his time, writing in collage-like planes of contrasting styles. In 1951, the Polymusic Chamber Orchestra, conducted by Will Lorin, first recorded the piece.
Henry and Sidney Cowell add that silence in the form of soft slow-moving concordant tones widely spaced in the strings move through the whole piece with uninterrupted placidity. After these tones have establish their mood, loud wind instruments cut through the texture with a dissonant raucous melody that ends with the upturned inflection of the Question.
Northern Sinfonia, conducted by James Sinclair
_________________ "If our music survives, which I have no doubt it will, then it will because it is good!"
Jerry Goldsmith (1929-2004), composer
ifich
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Joined: Jul 14, 2010
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Posts: 410
Posted:
Sat Mar 17, 2012 8:02 pm Post subject:
I like it a lot! Really cosmic _________________ “Music should strike fire from the heart of man, and bring tears from the eyes of woman.”
Ludwig van Beethoven
bpewien
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Joined: Feb 29, 2008
Member#: 51
Posts: 309
Location: Vienna, Austria
Posted:
Mon Mar 19, 2012 9:00 pm Post subject:
ifich _________________ "If our music survives, which I have no doubt it will, then it will because it is good!"
Jerry Goldsmith (1929-2004), composer
bpewien
Lieutenant Commander
Joined: Feb 29, 2008
Member#: 51
Posts: 309
Location: Vienna, Austria
The Symphony No. 10 in E minor (Op. 93) by Dmitri Shostakovich was premiered by the Leningrad Philharmonic Orchestra under Yevgeny Mravinsky on 17 December 1953, following the death of Joseph Stalin in March that year. It is not clear when it was written: according to the composer's letters composition was between July and October 1953, but Tatiana Nikolayeva stated that it was completed in 1951. Sketches for some of the material date from 1946.
Conductor: Sir Georg Solti
_________________ "If our music survives, which I have no doubt it will, then it will because it is good!"
Jerry Goldsmith (1929-2004), composer
bpewien
Lieutenant Commander
Joined: Feb 29, 2008
Member#: 51
Posts: 309
Location: Vienna, Austria
Posted:
Mon Nov 05, 2012 3:18 am Post subject:
_________________ "If our music survives, which I have no doubt it will, then it will because it is good!"
Jerry Goldsmith (1929-2004), composer
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