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This is great decapitator and bpewien!
I am looking forward to the next posts of yours! Very interesting audio experiences!
Thank you both! _________________ The secret of not having worries, is to have ideas.
Eugene Delacroix
Smithee
Cadet 2
Joined: Jun 11, 2010
Member#: 1277
Posts: 5
Posted:
Sun Jun 20, 2010 3:40 pm Post subject:
Hello everyone, here are some of my all-time favourites on Youtube:
Thank you Smithee for sharing some of your favorites... _________________ 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 Feb 08, 2011 2:07 pm Post subject:
bpewien wrote:
Franz Schubert (1797-1828)
Ständchen (zögernd leise...) for Soprano and Male Choir
The lyrics are from a poem by the austrian poet Franz Grillparzer, basically a romantic one.
The title "Ständchen" also stands for another, better known song by Schubert from his songs-cycles. But I just forgot which one of the 3... *embarrased*
Regarding the video:
This is the only good one I've found on youtube, but the audio quality and the musical performance is marvellous!
So don't give a d*mn what kind of pictures (btw. all taken from locations in Vienna, Austria) are running through this vid, the music is the important thing!
Close your eyes and enjoy!
Juliane Banse, Soprano
Vienna Vocalists
Found another one with a little more explanation regarding the lyrics etc.
Ständchen, D. 920 (Op. posth. 135)
for alto, chorus & piano
Composed by Franz Schubert, on July 1827
Text: Franz Grillparzer
Janet Baker, mezzo soprano
English Chamber Orchestra Chorus
Raymond Leppard, Piano
Recording date: December 1976
D 920 is one of the three "Ständchen"s composed by Franz Schubert. Anna Fröhlich, one of Schubert's students, commissioned it for Louise Gosmar's birthday.
"Gerhard von Breuning has transmitted the story of its origin as told by Anna Fröhlich:
Another time Anna told me: 'Whenever the birthday or nameday of [Fräulein] Gosmar... was approaching I always went to Grillparzer and asked him to write something for the occasion and I did this once more as her birthday drew near. () In a few days he gave me the "Ständchen", "Leise klopf' ich mit gekrümmtem Finger.." And when Schubert came to see us shortly afterwards, I said to him 'Look, Schubert, you must set this to music for me.' He: 'Well, let's have a look at it.' Leaning against the piano he read it through repeatedly, exclaiming over and over again 'But how beautiful it is - it's so beautiful!' He looked thus at the sheet of paper for a while and finally said 'There, it is finished now, I've got it already.' And only three days later he really did bring it to me, finished, set for mezzo-soprano (that is, for my sister Pepi) and four men's voices. At this I said to him 'No, Schubert, I can't use it like this, it's meant to be a tribute from [Fräulein] Gosmar's women friends only. You must write me the chorus for women's voices.' I remember quite clearly saying this to him; he was sitting over there in the right-hand window recess of the ante-room. - And soon afterwards he brought it to me, set for Pepi's voice and women's chorus, as it is now.'
...
The two versions of "Ständchen" provide one of numerous instances of Schubert rewriting an already finished work. It is a special case in that it was a commissioned work, and the change was not brought about on his own initiative. Schubert often transposed songs, though we usually lack evidence that he did so at anyone else's request." - From "Schubert Studies" by Eva Badura-Skoda, Peter Branscombe
"Ständchen is a poem about the meaning of friendship; the sage mentioned in the text is Diogenes, who went around the agora in Athens in broad daylight, shining a light into people's eyes. Most Athenians tended to ignore him, much as modern passers-by would, probably dismissing him as a nutter; but one caring and enlightened fellow finally asked him why he was doing this. "Ah", cried Diogenes, brandishing his lantern, "I am looking for a human"." - Tina Breckwoldt
The version for mezzo-soprano and female chorus was performed for the first time at the occasion that it was commissioned for, on 11 August 1827, in the garden of the summer house near Vienna, where Louise Gosmar was staying at the time. It was performed by Anna Fröhlich on piano, her sister Josefine Fröhlich (Pepi) as the soloist, and a group of Anna's pupils forming the female chorus. Schubert himself was invited to play the piano but he never showed up. He later apologized to Anna saying, "Oh, I forgot about it."
The autograph of the first version (male chorus) of Ständchen is now in Vienna Stadtbibliothek. The autograph of the second version (female chorus) is in the library of the Academy of Music (Musashino Ongaku Daigaku) in Tokyo. - Eser
Text:
Zögernd, leise,
In des Dunkels nächt'ger Hülle
Sind wir hier.
Und den Finger sanft gekrümmt,
Leise, leise,
Pochen wir
An des Liebchens Kammerthür.
Doch nun steigend,
Schwellend, hebend,
Mit vereinter Stimme, laut
Rufen aus wir hochvertraut:
Schlaf du nicht,
Wenn der Neigung Stimme spricht!
Sucht' ein Weiser nah und ferne
Menschen einst mit der Laterne;
Wie viel seltner dann als Gold,
Menschen uns geneigt und hold?
Drum, wenn Freundschaft, Liebe spricht,
Freundin, Liebchen, schlaf du nicht!
Aber was in allen Reichen
Wär' dem Schlummer zu vergleichen?
Drum statt Worten und statt Gaben
Sollst du nun auch Ruhe haben.
Noch ein Grüßchen, noch ein Wort,
Es verstummt die frohe Weise,
Leise, leise,
Schleichen wir uns wieder fort!
Translation:
Softly, quietly,
in the dark silence of night
we approach.
With a gently bent finger,
quietly, quietly,
we knock
on darling's door.
Presently,
rising, swelling,
lifting our voices, loudly
we exclaim, intimately:
Do not sleep,
when love's voice speaks.
Did not a wise man once look high and low
for humans with a lantern?
How much rarer than gold
are people who like us?
So when friendship, love are speaking,
dearest, darling, don't you sleep.
But what in all the world
could be compared to slumber?
So instead of words and gifts
you shall have your peace.
One more greeting, one more word,
the cheerful song falls silent;
softly, quietly,
we slink away.
_________________ "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 Mar 10, 2011 5:57 pm Post subject:
Friedrich Gulda (1930-2000)
Play Piano Play - Exercise No.5: Moderato, poco mosso
Marc-André Hamelin, piano
_________________ "If our music survives, which I have no doubt it will, then it will because it is good!"
Jerry Goldsmith (1929-2004), composer
Haino
Ensign
Joined: May 03, 2008
Member#: 124
Posts: 44
Posted:
Sun Mar 13, 2011 5:44 am Post subject:
Last edited by Haino on Wed Nov 02, 2011 9:45 am; edited 1 time in total
ifich
Lieutenant Commander
Joined: Jul 14, 2010
Member#: 1314
Posts: 410
Posted:
Tue Mar 22, 2011 5:17 am Post subject: Enrico Caruso
And a contribution from me to this thread - the great Caruso
_________________ “Music should strike fire from the heart of man, and bring tears from the eyes of woman.”
Ludwig van Beethoven
bpewien
Lieutenant Commander
Joined: Feb 29, 2008
Member#: 51
Posts: 309
Location: Vienna, Austria
Posted:
Thu Mar 24, 2011 4:00 pm Post subject:
bpewien wrote:
bpewien wrote:
Maurice Ravel (1875-1937)
Jeux d'eau for piano
performed by Svatoslav Richter
And here another very interesting performance by Martha Agerich:
An interesting short piece, which has a certain relation to Ravel's Jeux d'eau, but as you will see with an amusing twist, by italian contemporary composer
_________________ "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 7:28 pm Post subject:
Claude Debussy (1862-1918)
String Quartet in G minor, Op. 10 (1893)
performed by Alban Berg Quartett
I. Animé et très décidé
II. Assez vif et bien rhythmé
III. Andantino doucement expressif
IV. Très modéré
_________________ "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 24, 2011 6:03 pm Post subject:
Béla Bartók (1881 - 1945)
Allegro barbaro for piano BB 63 (Sz. 49) 1911
This is one of Béla Bartók's most famous and frequently performed solo piano pieces. The composition is typical of Bartók's style, utilizing folk elements. The work combines Hungarian and Romanian scales; Hungarian peasant music is based on the pentatonic scale, while Romanian music is largely chromatic.
The opening melody of Allegro Barbaro is largely pentatonic (the first 22 notes of the melody use a cell that consists only of a tone and a minor third, the building block of the pentatonic scale). Indeed, the opening melody uses a phyrgian mode subset.
Zoltan Kocsis, piano
_________________ "If our music survives, which I have no doubt it will, then it will because it is good!"
Jerry Goldsmith (1929-2004), composer
How interesting to listen to this music after reading your post bpewien... Musical tradition is so clear this way in this piece! Thank you! _________________ The secret of not having worries, is to have ideas.
Eugene Delacroix
ifich
Lieutenant Commander
Joined: Jul 14, 2010
Member#: 1314
Posts: 410
Posted:
Fri May 27, 2011 7:33 am Post subject: Witches`Sabbath, The (Symphonie Fantastique) - Berlioz-Liszt
_________________ “Music should strike fire from the heart of man, and bring tears from the eyes of woman.”
Ludwig van Beethoven
bpewien
Lieutenant Commander
Joined: Feb 29, 2008
Member#: 51
Posts: 309
Location: Vienna, Austria
Posted:
Sun Jun 19, 2011 8:54 am Post subject:
Edgard Varèse (1883-1965)
Octandre (1923)
Edgard Victor Achille Charles Varèse, whose name was also spelled Edgar Varèse (December 22, 1883 - November 6, 1965), was an innovative French-born composer who spent the greater part of his career in the United States.
Varèse's music features an emphasis on timbre and rhythm. He was the inventor of the term "organized sound", a phrase meaning that certain timbres and rhythms can be grouped together, sublimating into a whole new definition of music. Although his complete surviving works only last about three hours, he has been recognised as an influence by several major composers of the late 20th century. His use of new instruments and electronic resources led to his being known as the "Father of Electronic Music" while Henry Miller described him as "The stratospheric Colossus of Sound".
Octandre for seven wind instruments and double bass (1923)
Chicago Pro Musica
By the early 1950s, Varèse was in dialogue with a new generation of composers, such as Pierre Boulez and Luigi Dallapiccola. When he returned to France to finalize the tape sections of Déserts, Pierre Schaeffer helped arrange for suitable facilities. The first performance of the combined orchestral and tape sound composition came as part of an ORTF broadcast concert, between pieces by Mozart and Tchaikovsky and received a hostile reaction.
Le Corbusier was commissioned by Philips to present a pavilion at the 1958 World Fair and insisted (against the sponsors' resistance) on working with Varèse, who developed his Poème électronique for the venue, where it was heard by an estimated two million people. Using 400 speakers separated throughout the interior, Varèse created a sound and space installation geared towards experiencing sound as it moves through space. Received with mixed reviews, this piece challenged audience expectations and traditional means of composing, breathing life into electronic synthesis and presentation.
In 1962 he was asked to join the Royal Swedish Academy of Music, and in 1963 he received the premier Koussevitzky International Recording Award.
In his formative years, Varèse was greatly impressed by Medieval and Renaissance Music (in his career he founded and conducted several choirs devoted to this repertoire) and the music of Alexander Scriabin, Erik Satie, Claude Debussy, Hector Berlioz and Richard Strauss. There are also clear influences or reminiscences of Stravinsky's early works, specifically Petrushka and The Rite of Spring, on Arcana.
He claimed to have been inspired by the writings on music of Józef Maria Hoene-Wroński, and especially the Polish savant's statement that the object of music is "the corporealization of the intelligence that is in sound". He was also impressed by the ideas of Busoni, who christened him L'illustro futuro.
Varèse's best known student is the Chinese-born composer Chou Wen-chung (b. 1923), who met Varèse in 1949 and assisted him in his later years. He became the executor of Varèse's estate following the composer's death, and edited and completed a number of Varèse's works. He is professor emeritus of composition at Columbia University. Other pupils were Colin McPhee, James Tenney, and André Jolivet.
Composers who have claimed, or can be demonstrated to have been influenced by Varèse, include Harrison Birtwistle, Pierre Boulez, John Cage, Morton Feldman, Roberto Gerhard, Olivier Messiaen, Luigi Nono, Krzysztof Penderecki, Alfred Schnittke, William Grant Still, Karlheinz Stockhausen, and Iannis Xenakis.
Varèse's emphasis on timbre, rhythm, and new technologies was an inspiration to a whole generation of musicians who came of age during the 1960s and 1970s. One of Varèse's biggest fans was the American guitarist and composer Frank Zappa, who, upon hearing a copy of The Complete Works of Edgard Varèse, Vol. 1, which included Intégrales, Density 21.5, Ionisation, and Octandre, became obsessed with the composer's music. On his 15th birthday, December 21, 1955, Zappa's mother, Rosemarie, allowed him a call to Varèse as a present. At the time Varèse was in Brussels, Belgium, so Zappa spoke to Varèse's wife Louise instead. Eventually Zappa and Varèse spoke on the phone, and they discussed the possibility of meeting each other, although this meeting never took place. Zappa also received a letter from Varèse. Varèse's spirit of experimentation and redefining the bounds of what was possible in music lived on in Zappa's long and prolific career. Zappa's final project was The Rage and the Fury, a recording of the works of Varèse.
Another admirer was the rock/jazz group Chicago, whose Pianist/keyboardist Robert Lamm credited Varèse as a strong influence in his songwriting. In tribute, one of Lamm's songs was called "A Hit By Varèse".
1. Assez Lent
2. Très Vif Et Nerveux
3. Grave
_________________ "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:
Fri Sep 09, 2011 9:14 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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