I Write The Music

Bach – Richter, Conciertos de Brandenburgo 1-6, BWV 1046-1051

Posted in Uncategorized by Higher Density Blog on January 31, 2018

DUANE:   This Conductor, Carl Richter, is  not afraid to use bright contrasting Dynamics to feature each section of orchestra’s soloing.   After all, these are Concertos for Orchestra.   I hope you enjoy Bach’s great masterpiece.

El Jardín de Epicuro

Published on Feb 6, 2014
– Johann Sebastian Bach (1685 – 1750) Conciertos de Brandenburgo 1 – 6, BWV 1046 – 1051 Münchener Bach-Orchester, Karl Richter, director. Concierto de Brandeburgo Nº 1 en Fa mayor BWV 1046 [00:28~] 1º. Allegro [04:23~] 2º. Andante (en re menor) [08:12~] 3º. Allegro [12:53~] 4º. Menuetto; Trío I (2 oboes y fagot); Menuetto Polacca (violines y violas); Menuetto Trío II (2 cornos y 3 oboes); Menuetto. Concierto de Brandeburgo Nº 2 en Fa mayor BWV 1047 [20:50~] 1º. Allegro [26:00~] 2º. Andante (en re menor) [29:44~] 3º. Allegro assai Concierto de Brandeburgo Nº 3 en Sol mayor BWV 1048 [32:35~] 1º. Allegro [38:38~] 2º. Adagio [39:41~] 3º. Allegro Concierto de Brandeburgo Nº 4 en Sol mayor BWV 1049 [45:06~] 1º. Allegro [52:44~] 2º. Andante (en mi menor) [56:44~] 3º. Presto Concierto de Brandeburgo Nº 5 en Re mayor BWV 1050 [1:01:48~] 1º. Allegro [1:11:44~] 2º. Affettuoso (en si menor) [1:16:38~] 3º. Allegro Concierto de Brandeburgo Nº 6 en Si♭ mayor BWV 1051 [1:22:00~] 1º. Moderato [1:28:22~] 2º. Adagio ma non tanto (en Mi♭ mayor) [1:33:07~] 3º. Allegro – Lista de reproducción BACH – RICHTER: [https://www.youtube.com/playlist?list…]
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SAMUEL BARBER – Adagio for Strings, Original Version – Dover Quartet

Posted in Uncategorized by Higher Density Blog on November 27, 2017

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Robert Schumann – Fantasiestücke Op. 12 (1837) – Piano Score

Posted in Uncategorized by Higher Density Blog on November 21, 2017


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Arturo Márquez – Días de Mar y Rio –

Posted in Uncategorized by Higher Density Blog on November 17, 2017


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Harmonic analysis – Beethoven’s Pathetique Sonata – Second movement

Posted in Uncategorized by Higher Density Blog on October 31, 2017

Published on Dec 26, 2011

Michiel’s live performance video: http://www.youtube.com/watch?v=klZYv-… Choose 720p from below the video window for high definition. http://www.davidbthomas.com

Knut Nystedt – Le verbe eternel, op. 133 – Marc Labruijere Organist – Toccata

Posted in Uncategorized by Higher Density Blog on October 29, 2017




Le Verbe Eternel. An organ work of the Norwegian Composer Knut Nystedt (1915-2014).


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Cédric Tiberghien plays Bartók

Posted in Uncategorized by Higher Density Blog on October 28, 2017




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Eric Whitacre – Alleluia

Posted in Uncategorized by Higher Density Blog on October 25, 2017

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Fantasia on Greensleeves by Ralph Vaughan Williams

Posted in Uncategorized by Higher Density Blog on October 4, 2017

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Chopin: 19 Nocturnes – Pianist Ivan Moravec – w/ Piano Score

Posted in Uncategorized by Higher Density Blog on September 18, 2017


Published on Jan 28, 2017
A capital-G Great Recording.
Once in a very rare while one of these comes along that is so stubbornly & irreducibly beautiful that it’s sort of hard to say anything sensible about it, which obviously leaves reviewers and aficionados with a bit of a problem.
I don’t think I really knew what legato playing was before I heard this recording, or what Chopin’s long phrase marks were actually meant to mean *aurally*.
There’s too much to praise here: ultra-fine dynamic control, tempi neither fast or slow but always reverential, rubato as free as it is natural, the sheer glory of the tone as Moravec unfurls those long melodies.
Even the relatively pedestrian opening of a nocturne like the 15.1 suddenly makes the breath catch. It’s weird and deeply uplifting and makes you want to learn all the nocturnes but despair at actually doing it at the same time.
Everyone likes Chopin’s nocturnes, but perhaps because they’re so generous and immediate in what they offer the listener, their quality is often underestimated: they aren’t (at first blush) difficult or weird in the way that we sometimes expect really great music to be.
But the nocturnes aren’t just excellent pieces: you could plonk them down beside both books of the Well-Tempered Klavier and they wouldn’t be out of place. They still stand as one of the all-time big feats of lyrical composition in any genre and time period: all the melodies sound songlike while being (for the most part) unsingable.
Right from the first nocturne you’ve given a 22-tuplet, and then fiorituri (structural ones, not just ornamental fluff) and colouristic novelties and hidden countermelodies and harmonic innovations will deluge you until you reach the last one.
Analysing just one nocturne is an exhausting affair, and I won’t attempt an analysis of all 19 here. (Do check out Ohlsson’s lecture on just one bit of the 27.2, though.)
I guess I’ll just make three very brief observations. First, the nocturnes closely track Chopin’s stylistic maturation: he uses counterpoint more and more frequently as we approach the late nocturnes, culminating in 55.2, 62.1, and the middle (and very Bachian) section of 62.2.
Second, there are in the nocturnes some sections that achieve a kind of late-Beethoven stillness: listen to some of the more minimalist middle sections that Chopin writes, for instance. And lastly: despite being relatively short pieces, some of these nocturnes cover a lot of musical ground in a very concentrated narrative-like structure, almost like ballades in miniature
(see 15.3, which also has an interesting structure, 27.1, 62.1). 00:00
Op.9 No.1 in Bb Min 05:37
Op.9 No.2 in Eb Maj 10:03
Op.9 No.3 in B Maj 16:28
Op.15 No.1 in F Maj 20:55
Op.15 No.2 in F# Maj 24:55
Op.15 No.3 in G Min 29:31
Op.27 No.1 in C# Min 34:47
Op.27 No.2 in Db Maj 42:04
Op.32 No.1 in B Maj 47:09
Op.32 No.2 in Ab Maj 52:40
Op.37 No.1 in G Min 58:57
Op.37 No.2 in G Maj 1:04:37
Op.48 No.1 in C Min 1:10:47
Op.48 No.2 in F# Min 1:17:44
Op.55 No.1 in F Min 1:22:40
Op.55 No.2 in Eb Maj 1:26:54
Op.62 No.1 in B Maj 1:33:59
Op.62 No.2 in E Maj 1:39:30
Op.72 No.2 (posth.)
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VanAnh Vo – Vietnamese multi instrumentalist, composer, vocalist

Posted in Uncategorized by Higher Density Blog on September 12, 2017


Excerpt work from Fire and Bronze (stage 1) production. Featuring Jazz guitarist Nguyen Le. Ensemble members: Sheldon Brown on wind and reed instruments, Jimi Nakagawa on Taiko, Aaron Germain on Upright Bass and electronic bass. Van-Anh Vo on dan Tranh (Vietnamese 16-string zither), dan Bau (the monochord), dan T’rung (the bamboo xylophone), vocal, Viet traditional drum and other percussions.

Johannes Brahms – Documentary about the German Composer

Posted in Uncategorized by Higher Density Blog on September 3, 2017






Pine Covered Path – by Tim Janis

Posted in Uncategorized by Higher Density Blog on September 2, 2017

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Proms 2016 – Gustav Holst – The Planets [Edward Gardner, National Youth Orchestra]

Posted in Uncategorized by Higher Density Blog on August 21, 2017



Published on Sep 19, 2016

Edward Gardner leads the National Youth Orchestra of Great Britain and the CBSO Youth Chorus in a performance of Gustav Holst’s The Planets with Colin Matthews’ supplementary piece “Pluto, The Renewer.” Recorded live at the Royal Albert Hall on August 6th 2016 as part of Prom 29.

Mars, the Bringer of War 0:00
Venus, the Bringer of Peace 7:15
Mercury, the Winged Messenger 15:09
Jupiter, the Bringer of Jollity 18:58
Saturn, the Bringer of Old Age 26:42
Uranus, the Magician 35:32
Neptune, the Mystic 41:20
Pluto, the Renewer 49:17

Siegmund von Hausegger – Nature Symphony (1911)

Posted in Uncategorized by Higher Density Blog on August 19, 2017



Composer David Foster – Soundtrack of Our Lives

Posted in Uncategorized by Higher Density Blog on August 18, 2017



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Witold Lutosławski (1913-1994) – Piano Sonata (1934)

Posted in Uncategorized by Higher Density Blog on August 15, 2017


Published on May 23, 2016

00:00 – I. Allegro
10:27 – II. Adagio ma non troppo
18:08 – III. Andante – Allegretto
Pf. Gloria Cheng
Lutosławski’s Piano Sonata, the only composition preserved from his early student years, was completed on 29 December 1934. That three-movement work was modelled on the music of Debussy and – to a certain extent – Ravel (especially his Sonatine). The composer himself acknowledged Szymanowski’s influences. The rich palette of sound colours reveals impressionistic origins and, in most of the Sonata (and especially its first movement), the basis of the timbre is the quick succession of broken chords, providing, by means of the pedal, a glimmering background for the subjects and independent motives. The Sonata places certain technical demands on the pianist . In order to perform it correctly, considerable dexterity is required as well as a mastery of passage-work and octave technique, sensitivity to instrumental colouring and skill in bringing polyphony into prominence vividly. In later years Lutosławski’s attitude towards his youthful Sonata was so critical that, though the manuscript survived the turmoil of war, he never decided to publish it. In the 1970s Ryszard Bakst acquired a copy of the music and recorded it for Polish Radio, albeit against the wishes of the composer. Danuta Gwizdalanka, Krzysztof Meyer (excerpt from the book Lutosławski. A Road to Mastery)


Sihyeon Choe 

Hindemith – Konzertmusik – for strings and brass

Posted in Uncategorized by Higher Density Blog on August 10, 2017



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Enrique Granados – Goyescas – Pianist Alicia De Larrocha

Posted in Uncategorized by Higher Density Blog on August 9, 2017


David Kim 

Published on Oct 23, 2015

Alicia De Larrocha, Piano

1. Book 1: Los Requiebros
2. Book 1: Coloquio En La Reja
3. Book 1: El Fandango De Candil
4. Book 1: Quejas O La Maja Y El Ruiseñor
5. Book 2: El Amor Y La Muerte (Balada)
6. Book 2: Epilogo: La Serenada Del Espectro
7. Book 2: El Pelele


Carl Vine – Piano Sonata No. 1 – Uses Cross Rhythms

Posted in Uncategorized by Higher Density Blog on August 8, 2017



Published on Jan 11, 2016

– Composer: Carl Vine, AO (8 October 1954 — present)
– Performer: Michael Kieran Harvey
– Year of recording: 1991

Piano Sonata No. 1, written in 1990.

00:00 – I. [no dynamic tempo marking]
08:23 – II. Leggiero e legato

Australian composer Carl Vine uses a lot of open fourths and fifths in this piano sonata, and chords/arpeggios are often based on stacked fourths or fifths. The sonata is reminiscent in its form of Elliot Carter’s piano sonata, and in its intensity of Samuel Barber’s piano sonata.

Notes by the dedicatee, Michael Harvey:
“Drawing on the lithe beauty and contrapuntal elegance of the earlier Piano Sonata (1946) by Elliot Carter, the [1st] Piano Sonata by Carl Vine is a work characterised by intense rhythmic drive and the building up of layers of resonance. These layers are sometimes delicate and modal, archieving a ‘pointed’ polyphony by the use of complex cross-rhythm, at other times they are granite-like in density, creating waves of sound which propel the music irresistibly towards its climax.

The scheme is similar to the Carter Sonata – Two movements, with the slow section built into and defining the faster portions of the first movement. The second movement is based on a ‘moto perpetuo’ which soon gives way to a chorale section, based on parallel fifths.

In discussing the work, Vine is reticent about offering explanations for the compositional processes involved, feeling that these are self-evident, and indeed the work is definitely aurally ‘accessible’ on first hearing. However one of the main concerns in this sonata is the inter-relationship between disparate tempi, which is the undercurrent of the work and its principle binding element.

The work is dedicated to me and was commissioned by the Sydney Dance Company to be choreographed by Graeme Murphy. The first concert performance of this work was on 23 June 1991 in Melbourne. The first dance performance of Piano Sonata was in the Drama Theatre of the Sydney Opera House in May, 1992.”


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