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Joined: Feb 29, 2008
Member#: 51
Posts: 309
Location: Vienna, Austria
Posted:
Sun Mar 01, 2009 3:59 pm Post subject:
Claude Debussy (1862-1918)
String quartet in g-minor
1.Violin - Maria Bessmeltseva
2.Violin - Paris Paraschoudis
Viola - Jesse Griggs
Cello - Heather Scott
I. Animé et très décidé
II. Assez vif et bien rythmé
III. Andantino modérément expressif
IV. Très modéré - très animé
_________________ "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 Sun Mar 01, 2009 4:08 pm; edited 1 time in total
bpewien
Lieutenant Commander
Joined: Feb 29, 2008
Member#: 51
Posts: 309
Location: Vienna, Austria
Posted:
Sun Mar 01, 2009 4:07 pm Post subject:
Maurice Ravel (1875-1937)
String Quartet in F
performed by The Hagen Quartet
I. Allegro moderato
II. Assez vif, très rythmé
III. Très lent
IV. Vif et agité
_________________ "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 6:55 pm Post subject:
Actually this would rather belong to the orchestral thread, but I need to bump this one anyway
In the movie shown during the pause of the 2007 Vienna Philharmonics New Years Concert there was a joint appearance of "Vienna Horns" and "Art of Brass". They played excerpts from the 3rd movement of Anton Bruckner's 4th symphony.
One of the many reasons I love brass so much _________________ "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 12:45 am Post subject:
Olivier Messiaen (1908-1992)
Vingt Regard sur l'Enfant Jésus XV. Le Baiser de l'Enfant Jésus
performed by Roger Muraro
_________________ "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 Jul 07, 2009 1:21 pm Post subject:
Salvatore Sciarrino (*1947)
"Opera per flauto"
Claire Marchand, flute
_________________ "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 Jul 27, 2009 7:19 pm Post subject:
Thank you very much for your input, Haino.
Regarding the flute piece, I (as a composer myself) wouldn't consider it as some kind of "effect box". Quite the opposite.
A musical instrument - especially a wind instrument - is a whole effect itself already, given each technique for it being played.
S. Sciarrino has a great way to maintain musical aspects, combined with new approaches and sounds. He tries to show us a very fragile tone spectrum, which is very intimate and transparent. That's not a bad thing, it's a good example for progression.
Also, regarding what's going on on todays avantgarde music, this was harmless
- - - - - - - - - - - - - - - -
Here's an interesting example:
Michael Jarrell (*1958)
Assonance VI, composed in 1989
Michael Jarrell is my composing teacher at the Viennese Music University.
The "Asonance" pieces are a big musical cycle for either chamber ensemble, solo instruments/voice and/or electronics (OR all together ^^)
This particular one remains the chamber musical approach.
Quasars Ensemble at Ost West Podium,
24.4.2009 Lutherkirche, Kassel, Germany
Ivan Buffa - conductor (a good colleague of mine)
Andrea Boskova - flute
Julia Galova - oboe
Peter Mosorjak - violin
Peter Zwiebel - viola
Andrej Gal - violoncello
Diana Cibulova - piano
Martin Kleibl - percussion
P. Philips (1560-1628). Julian Bream Consort plays his famous Pavan 1580.
Staff: treble viol, flute, bass viol, lute, bandora, cittern.
This piece available in AFM req list.
bpewien
Lieutenant Commander
Joined: Feb 29, 2008
Member#: 51
Posts: 309
Location: Vienna, Austria
Posted:
Fri Nov 20, 2009 5:14 pm Post subject:
Though it may not be a direct solo or chamber performance of a composition, I thought this video would fit here.
Rostropovich has been and will be always one of the most important musicians of the 20th century.
_________________ "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 Fri Nov 20, 2009 9:08 pm; edited 1 time in total
bpewien
Lieutenant Commander
Joined: Feb 29, 2008
Member#: 51
Posts: 309
Location: Vienna, Austria
Posted:
Fri Nov 20, 2009 9:06 pm Post subject:
Johanns Sebastian Bach (1685-1750)
Komm, Jesu, Komm (Come, Jesus, come) BWV 229
Motet for double choir & basso continuo ensemble
Performed by The Sixteen, conducted by Harry Christophers.
Choeur de Chambre Les Eléments
Ensemble Jacques Moderne, conducted by Jöel Suhubiette.
_________________ "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 Jan 25, 2010 7:18 pm Post subject:
Anton Webern (1883-1945)
Langsamer Satz (Slow Movement) for string quartet (1905)
Anton Webern, one of the most important composers of the early till middle 20st century, started his musical language - as well as his teacher Arnold Schönberg and his colleague Alban Berg - in the late romantic/ Fin de Siecle era, only to evolve into the progressive form we still find today in his music. After 1950, Webern was chosen to be one of the most important role models for many composing generations, also leading to the serialism technique (a far more advanced, but also way more complex evolvement of the 12-tone system Schönberg invented).
To make an interesting comparison:
This piece was written in 1905, 2-3 years before Charles Ives wrote his "Unanswered Question" or Schönberg composed his "3 piano pieces, op.11". Here you can hear a Webern you don't experience that much around these days.
"Langsamer Satz" performed by the Faust Quartet:
1st Violin: Wojciech Garbowski
2nd Violin: Cordula Frick
Viola: Ada Meinich
Cello: Birgit Böhme
After his "Passacaglia for orchestra", Webern started to give his works Opus numbers. (Passacaglia is op.1 btw)
You can see a very interesting development in the course of 4 years after the "Langsamer Satz".
The 5 movements for string quartet (later arranged for string orchestra) consist of 5 very short (the longest piece is about 4 minutes long, the shortest less than a minute) movements, each exploring new ways for expression. Technically these pieces are "atonal", Schönberg's 12 tone technique came around 1921.
Performed by the Alban Berg quartet (which by the way made its very last performance 2 years ago. )
And here for comparison the string orchestra version (1929):
_________________ "If our music survives, which I have no doubt it will, then it will because it is good!"
Jerry Goldsmith (1929-2004), composer
Johanns Sebastian Bach (1685-1750)
Komm, Jesu, Komm (Come, Jesus, come) BWV 229
Motet for double choir & basso continuo ensemble
Performed by The Sixteen, conducted by Harry Christophers.
[youtube] [/youtube]
Choeur de Chambre Les Eléments
Ensemble Jacques Moderne, conducted by Jöel Suhubiette.
[youtube] [/youtube]
both performances are fine, however the impression that the style of The Sixteen is closer to Mozart than Jacques Moderne's,
on the contrary for Monteverdi the style of Jacques Moderne is certainly more suitable
Fr. Schubert (1797–1828). "Gute Nacht" from 'Winterreise'.
Dietrich Fischer-Dieskau needs no comment, certainly the greatest interpreter of Schubert's songs.
Peter Pears, a lyric tenor with a light touch of dramatics in his words, his main repertoire were english lute songs,
those who heard it perhaps better to accept his reading of Schubert.
By the way Pears said that to perform properly Winterreise the singer should reach the age of 50, that's why apparently he hadn't been hurry to do it.
Both recordings made in the mid of 60th.
D. Fischer-Dieskau, baritone. J. Demus, piano.
P. Pears, tenor. B. Britten, piano.
Another couple of interpretations, male & female.
Fr. Schubert. "Am Bach im Frühling".
Great interpretations all! The "Female" voice though brings out a fine sensitivity not easily found in a "male" one... Thanks Decapitator for your lovely posts! _________________ The secret of not having worries, is to have ideas.
Eugene Delacroix
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