Birth of Third Stream
Symphony for Brass & Percussion
American composer, conductor and writer Gunther Schuller died in Boston on 21 June 2015, aged eighty-nine.
Wolfgang Amadeus Mozart’s Piano Quartet No. 1 in G minor, K. 478, is considered the first major piece composed for piano quartet in the chamber music repertoire. Mozart received a commission for three quartets in 1785 from the publisher Franz Anton Hoffmeister. Hoffmeister thought this quartet was too difficult and that the public would not buy it, so he released Mozart from the obligation of completing the set. (Nine months later, Mozart composed a second quartet in E-flat major, the K. 493, anyway). Hofmeister’s fear that the work was too difficult for amateurs was borne out by an article in the Journal des Luxus und der Moden published in Weimar in June 1788. The article highly praised Mozart and his work, but expressed dismay over attempts by amateurs to perform it:
“[as performed by amateurs] it could not please: everybody yawned with boredom over the incomprehensible tintamarre of 4 instruments which did not keep together for four bars on end, and whose senseless concentus never allowed any unity of feeling; but it had to please, it had to be praised! … what a difference when this much-advertised work of art is performed with the highest degree of accuracy by four skilled musicians who have studied it carefully.” The assessment accords with a view widely held of Mozart in his own lifetime, that of a greatly talented composer who wrote very difficult music. At the time the piece was written, the harpsichord was still widely used. Although the piece was originally published with the title “Quatuor pour le Clavecin ou Forte Piano, Violon, Tallie [sic] et Basse,” stylistic evidence suggests Mozart intended the piano part for “the ‘Viennese’ fortepiano of the period” and that our modern piano is “a perfectly acceptable alternative.” The work is in three movements:
I. Allegro, in G minor
II. Andante, in B-flat major
III. Rondo (Allegro), in G major
The C. F. Peters Edition set of parts has rehearsal letters throughout the whole work; the Eulenburg Edition study score has measure numbers but no rehearsal letters, the same goes for Bärenreiter.
The quartet is also available in an arrangement for string quintet.
FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start…
ALSO check out these cool sites: http://musopen.org/
Mars – God of War
Venus – Bringer of Peace
Mercury – The Winged Messenger
Jupiter – Bringer of Jolity
Saturn – Bringer of Old Age
Uranus – The Magician
Neptune – The Mystic
The Vibrational Architecture of Living Together in Harmony.
A talk given at the 27th Annual Conference of the Seven Ray Institute and the University of the Seven Rays.
— “I want to demonstrate to the world the architecture of a new and beautiful social commonwealth. The secret of my harmony? I alone know it. Each instrument in counterpoint, and as many contrapuntal parts as there are instruments. It is the enlightened self-discipline of the various parts, each voluntarily imposing on itself the limits of its individual freedom for the wellbeing of the community. That is my message. Not the autocracy of a single stubborn melody on the one hand, nor the anarchy of the unchecked noise on the other. No, a delicate balance between the two – an enlightened freedom. The science of my art. The harmony of the stars in the heavens. The yearning for brotherhood in the hearts of men. This is the secret of my music.”
~ JS Bach
Harold Grandstaff Moses, Honorary PhDE in Musical Cosmology from the University of the Seven Rays, Director of the Institute of Harmonic Science in Phoenix, Arizona. Harold is a composer, orchestrator, violist, educator, choral director, musical cosmologist, and vibrational theorist. As an experienced guide into the world of sound, music and healing, Harold uses descriptive metaphors and new science examples to reveal the majesty and mystery of vibration, resonance and harmony.
Barber: Summer Music
This video is dedicated to our beloved Főnökasszony:)
Played by: Ensemble Wien-Berlin
Wolfgang Schulz – flute,
Hansjörg Schellenberger – oboe,
Karl Leister – clarinet,
Günter Högner – horn,
Milan Turkovic – basson
and here is the second part of it:
Tchaikovsky Symphony NO.6 (Full Length) : Seoul Phil Orchestra
차이코프스키 교향곡 제6번 “비창”
Conuctor : 정명훈 Chung Myung-Whun
(Seoul Phil Orchestra Music Director & Permanent Orchestra Conductor)
Seoul Philharmonic Orchestra
16th,May,2011. Korean Art Centre Concert Hall, Seoul Korea.
(Make sure “Annotations” is ON to see section labels)
Bartók – Concerto for Orchestra, Sz. 116, BB 123
I. Introduzione. Andante non troppo – Allegro vivace @0:00
II. Giuoco Delle Coppie. Allegretto scherzando @9:58
III. Elegia. Andante non troppo @16:00
IV. Intermezzo Interrotto. Allegretto @24:00
V. Finale. Presto @28:16
Fritz Reiner and the Chicago Symphony Orchestra
This analysis was derived in part from David Cooper’s analysis in the Cambridge Guide to Bartok’s Cto for Orch.
Note: at this time the annotations will not appear on mobile devices, so if possible please watch from a computer.
For more videos of this type see:
Color-Coded Analysis of Beethoven’s Music (INDEX):
César FRANCK: Violin Sonata in A major (1886) M. 8
0:10 / I. Allegretto ben moderato [5’38”]
5:51 / II. Allegro – Quasi lento – Tempo I (Allegro) [7’02”] –12:59 applause
13:10 / III. Recitativo-Fantasia (Ben moderato-Largamente-Molto vivace) [6’25”]
19:37 / IV. Allegretto poco mosso [5’29”]
Ruggiero RICCI, violin – Martha ARGERICH, piano (Golden Jubilee Concert – Live rec: October 20, 1979 – Carnegie Hall, New York / (p) 1985 Etcetera Records)