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Joined: Feb 29, 2008
Member#: 51
Posts: 309
Location: Vienna, Austria
Posted:
Sat Jan 17, 2009 9:22 pm Post subject:
Jerry Goldsmith (1929-2004)
Music for Orchestra (1969)
A rare concert piece by legendary film score composer Jerry Goldsmith.
Stark and evocative, this little-known composition makes the most out of the underappreciated 12-tone technique.
Composed and conducted by Jerry Goldsmith
Performed by the London Symphony Orchestra
PS: We have the album here on Adagio.FM! _________________ "If our music survives, which I have no doubt it will, then it will because it is good!"
Jerry Goldsmith (1929-2004), composer
weaponlordzero
Lieutenant
Joined: Feb 22, 2008
Member#: 33
Posts: 214
Location: Louisville, KY USA
Posted:
Sun Jan 18, 2009 12:39 am Post subject:
Wow! Nice find!! _________________ Though everything else may appear shallow and repulsive, even the smallest task in music is so absorbing, and carries us so far away from town, country, earth, and all worldly things, that it is truly a blessed gift of God.
-- Felix Mendelssohn
SiriusCreations
Admiral (Administrator)
Joined: Feb 19, 2008
Member#: 14
Posts: 198
Location: Rotterdam, The Netherlands
Posted:
Sat Feb 21, 2009 3:42 pm Post subject:
I like this Second Waltz by Dimitri Shostakovich
Performed by: "Banda Sinfónica Universitaria de La Laguna" (Tenerife)
_________________ That's the beauty of music. They can't take that away from you. (Andy Dufresne - The Shawshank Redemption)
bpewien
Lieutenant Commander
Joined: Feb 29, 2008
Member#: 51
Posts: 309
Location: Vienna, Austria
Posted:
Fri Feb 27, 2009 8:17 pm Post subject:
Charles Ives (1874-1954)
"The Unanswered Question"
WIKIPEDIA wrote:
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 string quartet, woodwind quartet, and solo trumpet. 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. (Mortensen 2005)
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 lecture 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.[1] 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” (Bernstein 1976, 269). This piece graphically represents the 20th century dichotomy of both tonal and non tonal music going on at the same time.
New York Philharmonic Orchestra, conducted by Leonard Bernstein
_________________ "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:
Wed May 20, 2009 6:15 pm Post subject:
Anton Bruckner (1824-1896)
Symphony Nr.9 d-Minor
The one and only Leonard Bernstein conducting Bruckner's last and eventually unfinished Symphony Nr.9, performed in the Golden Hall of the Wiener Musikverein by the Vienna Philharmonics Orchestra.
I. Feierlich, Misterioso
II. Scherzo - Trio
III. Adagio
_________________ "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:
Thu May 28, 2009 12:41 am Post subject:
Olivier Messiaen (1808-1992) Oiseaux Exotiques for piano & small orchestra
Piano: Pierre-Laurent Aimard
conducted by Pierre Boulez
_________________ "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 Aug 10, 2009 6:02 am Post subject:
Alban Berg (1885-1935)
Five Orchestral Songs on Postcard Texts of Peter Altenberg, Op. 4
Composed in 1911-1912, Fünf Orchesterlieder op. 4 received its premiere under the baton of Berg's teacher, Arnold Schoenberg.
Because of the big protest of the audience, the concert turned into a great tumult and legendary scandal in 1913 at the Wiener Musikverein (the so-called "Watschenkonzert" = slap in the face concert).
The performance of Berg's Lieder had to be aborted and Berg never heard a complete performance for the rest of his life.
The first complete concert performance occured in the 50's.
Nevertheless these early miniatures show the big scale Berg was able to combine. He uses a very big orchestra with (even today) very progressive techniques and sounds. Some of them are very close to the french impressionism (something Berg's teacher Arnold Schönberg critized by the way ). Also he explored new ways to use the voice in the orchestra (whispering, reciting etc.).
Please take a close look at the way Berg interconnects the text with the music. (Translation below the video.)
The text comes from 'picture-postcard texts(Ansichtskarten-Texten)' by a contemporary Viennese poet named Peter Altenberg. The texts deal with the stormy but beautiful condition of the soul, and the palpable sensations of love and longing. Berg's setting is for a huge orchestra. The music full of displaced ostinati and the conflicted, lyrical passion found in much of Berg's works.
Renee Fleming, soprano
Luzern Festival Orchestra
Claudio Abbado, conductor
1. Soul, you're more beautiful
Soul, you're more beautiful, deeper, after snowstorms.
Like Nature, you have storms, too.
And over both still lie a melancholy air
like clouds that disperse but slowly.
2. Have you seen the woods after rainstorms?
Have you seen the woods after rainstorms?
Everything reposes, gleams and is lovelier than before
See, Women, rainstorms are necessary too.
3. Beyond the borders of all we know, you ponder thoughtfully
Beyond the borders of all we know, you ponder thoughtfully,
You'd never worry about hearth and home.
Yet Life, and the dream of life - it can suddenly vanish.
Beyond the borders of all we know, you ponder thoughtfully.
(Actually it's "Beyond the borders of space", if you translate it correctly)
4. Nothing comes, nothing will ever come for my Soul
Nothing comes, nothing will ever come for my Soul.
I have waited, waited, oh waited !
The days are creeping past, they flutter away.
My ashblond silken hair blows pointlessly over my sallow face.
5. Here's Peace. Here I can cry my heart out
Here's Peace. Here I can cry my heart out.
Here the incomprehensible immense pain
that burns my soul can find release.
See, here there are no people, no settlements.
Here's Peace! Here the snow falls gently into flowing water.
(This last piece is actually in form of a Passacaglia) _________________ "If our music survives, which I have no doubt it will, then it will because it is good!"
Jerry Goldsmith (1929-2004), composer
T. Albinoni (1671–1751). Adagio in G minor by Y. Malmsteen
bpewien
Lieutenant Commander
Joined: Feb 29, 2008
Member#: 51
Posts: 309
Location: Vienna, Austria
Posted:
Wed Nov 11, 2009 4:32 pm Post subject:
Dmitri Shostakovich (1906-1975)
Symphony No.5 d-Minor I. Moderato
New York Philharmonic, conducted by Leonard Bernstein
_________________ "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 Jan 31, 2010 4:32 am Post subject:
Henri Dutilleux(*1916)
"Tout un monde lointain" - Concerto for violoncello and orchestra (1970)
Henri Dutilleux is one of the most distinctive composers I know who combines his musical style with the tradition of Ravel & Debussy.
His cello concerto can be seen as one of the most inspiring works of the latter half of the 20th century.
Quote:
In the mid-sixties, Dutilleux met Mstislav Rostropovich, who commissioned him to write a cello concerto. Rostropovich premièred the work, titled Tout un monde lointain, in 1970. It is one of the most important additions to the cello repertoire of the 20th century and is considered one of the composer's major achievements. In five movements, Tout un Monde Lointain is a nocturnal, mysterious work with a delicate orchestration and an eerily beautiful, yet highly virtuosic solo part. While most of the concerto is introspective and meditative, it also has occasional outbursts of violence and a frantic build-up to the ambiguous, suspended finale.
Performed by Xavier Phillips, violoncello
Orchestre de la Suisse Romande
Marek Janowski, conductor
I. Enigme
II. Regards
III. Houles
IV. Miroirs
V. Hymne
_________________ "If our music survives, which I have no doubt it will, then it will because it is good!"
Jerry Goldsmith (1929-2004), composer
Swedish Radio Choir
Etsuko Kano, Mezzo-Soprano
Tasuku Naono, Baritone
En-Aichi-Kay Symphony Orchestra
conducted by Charles Dutoit
I. Requiem aeternam/ II. Kyrie
III. Domine Jesu Christe
IV. Sancttus/ V. Pie Jesu
VI. Agnus Dei/ VII. Lux aeterna
VIII. Libera me/ IX. In paradisum
_________________ "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:
Wed Nov 10, 2010 3:54 pm Post subject:
Gustav Mahler (1860-1911)
Symphony Nr.10, I.Adagio
Leonard Bernstein 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
Lieutenant Commander
Joined: Feb 29, 2008
Member#: 51
Posts: 309
Location: Vienna, Austria
Posted:
Sat Feb 05, 2011 10:59 pm Post subject:
Richard Wagner (1813-1883)
Siegfried Idyll
Wagner composed the Siegfried Idyll as a birthday present to his second wife, Cosima, after the birth of their son Siegfried in 1869. It was first performed on Christmas morning (Cosima's birthday) in 1870 by a small ensemble on the stairs of their villa at Tribschen (today part of Lucerne) in the Canton of Lucerne, Switzerland; Cosima awoke to its opening melody. The brief trumpet part was played by Hans Richter. Today, it is often performed in Wagner's full orchestral version.
Its original title was Triebschen Idyll with Fidi's birdsong and the orange sunrise. "Fidi" was the pet version of the name Siegfried. It is thought that the birdsong and the sunrise refer to incidents of personal significance to the couple.
Wagner's opera Siegfried, which was not premiered until 1876, incorporates music from the Idyll. It was once thought that the Idyll simply used musical ideas intended for the opera, but it is now known that the opposite is the case. Wagner adapted melodic material for the Idyll from an unfinished chamber piece and later incorporated it into the love scene between Siegfried and Brunhilde in the opera. [1] The work also uses a German lullaby, whose title can be translated "Sleep, Baby, Sleep." Wagner published a detailed program for the work which describes his mother singing the boy asleep with a lullaby and then contemplating what he will be like as a young man.
Intended to be a private piece, Wagner was forced to sell the score to a publisher in 1878, expanding the orchestration to make the piece more marketable.
Vienna Philharmonics, conducted by 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
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bpewien 
weaponlordzero 
SiriusCreations 
). Also he explored new ways to use the voice in the orchestra (whispering, reciting etc.).
decapitator 
