I Write The Music

Tchaikovsky Symphony NO.6 – Seoul Philharmonic Orchestra

Posted in Uncategorized by Higher Density Blog on December 3, 2018


SuperTheseus

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Rachmaninoff: 10 Preludes Op.23 (Lugansky)

Posted in Uncategorized by Higher Density Blog on November 24, 2018


Ashish Xiangyi Kumar

Published on Nov 5, 2015

It’s not easy to think of a composer who was Chopin’s match in writing miniatures, but Rachmaninoff at least comes very close. His preludes are marvels of textural innovation, harmonic imagination, gorgeous counterpoint (Rachmaninoff’s brilliance at counterpoint is really not noticed often enough), and lyricism in all its forms — bleak, sweeping, stark, doleful, lush. (Individual descriptions below.)

Lugansky’s performances are some of my favourites. I think of him as being for Rachmaninoff what Rubinstein was for Chopin. There’s nothing bloated or forced about his style, and it manages to find a perfect middle ground between harsh, steely banginess (a bit easy too easy to slip into with Rachmaninoff) and saccharine melodrama. The melodies are clear, the counterpoint well-formed, the tempi judicious, the musical peaks and troughs clear even in the densest passages. In some passages Lugansky also reveals a gift for startling coloration. With music as naturally rich as Rachmaninoff’s the result is a fantastic listening experience, completely bereft of the sense of weary struggle and stiffness you sometimes get.

1. Largo, F-sharp minor — 0:00 2. *Maestoso, B-flat major — 3:26. Lugansky’s performance is both thunderously exuberant and tightly controlled. The LH melodies in the middle section are impeccably outlined: 4:23 onward. 3. Tempo di minuetto, D minor — 6:53. Note the striking canonic passage with diminuition at 9:28. 4. Andante cantabile, D major — 10:27. Unorthodox harmonies scaffolding a simple but marvelous melody. 5. *Alla marcia, G minor — 15:04. Yet again, more striking counterpoint from 16:48 onward. 6. *Andante, E-flat major — 18:52. Note how carefully Lugansky parses the minor voices in an already contrapuntally dense prelude. E.g.: 20:15. 7. *Allegro, C minor — 22:04. One of Rachmaninoff’s best. Lugansky produces some stunning bell-like sounds [22:28] and dynamic changes [23:27]. 8. Allegro vivace, A-flat major — 24:28 9. Presto, E-flat minor — 27:41 10: *Largo, G-flat major — 29:27 This neglected prelude features some of Rachmanioff’s starkest and most beautiful counterpoint [31:35++] played with impeccable clarity, with some lovely harmonic turns and arpeggiation thrown into the mix [see e.g., 32:36++.]

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J. S. Bach – Chaccone (Henryk Szeryng – Violin)

Posted in Uncategorized by Higher Density Blog on November 19, 2018

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Debussy – 3 Nocturnes for Orchestra (Color-Coded Analysis)

Posted in Uncategorized by Higher Density Blog on November 13, 2018

 

Published on Jan 1, 2012
(Make sure “Annotations” is ON to see section labels) Claude Debussy – Nocturnes, L.91 1.Nuages (Clouds) @0:00 2.Fêtes (Festivals) @6:15 3.Sirènes (Sirens) @12:43 Boulez, Cleveland, 2nd recording 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): http://lvbandmore.blogspot.com/p/colo…
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A special role is allotted to the English horn in “Nuages” (Clouds), the first piece of the group. Thin, two-voice counterpoint in steady quarter notes provides a background for the English horn’s rather plaintive gesture. The same melodic fragment is repeated several times with very little alteration or extension, interrupted occasionally by comments from the French horn section. A stark contrast is provided by a pentatonic interlude, scored for flute and harp against a sustained chordal background and marked “Un peu animé.”
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The English horn raises its quiet voice again, only to dissolve against the pianissimo tremolo background as the flute takes up its melody one more time. The quietly pulsating pizzicati of “Nuages” conclusion provide a sense of “grey agony,” as Debussy put it. “Fêtes” (Festivals) will be friendly ground to any listener familiar with the final movement of Respighi’s 1929 work along the same lines, Feste Romane. The juxtaposition of a forceful, even percussive, rhythmic ostinato in 12/8 time with the earthy tune of the brass band (representing the Garde Républicaine) provides for the same kind of multi-textural feel that Respighi would exploit even further three decades later.
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Through sheer repetition the music builds to several swaggering climaxes, only to be deflated each time and have to begin the process all over again. The music trails away into nothingness as the brass band finally completes its journey through the heart of the celebration. Remarkable about “Fêtes” is Debussy’s ability to hint at raunchiness and vulgarity within the context of his own extremely refined soundworld. A vocalizing (i.e., textless) women’s chorus is added to the ensemble for “Sirènes,” the last, and in many ways the most evocative of the Nocturnes.
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One must not be misled by “Sirènes” repetitiveness and apparent simplicity—a simplicity meant to parallel the deceptively innocent charm of the mythological sea sirens—for here is a work of great subtlety indeed. The dense intricacy of the orchestral effects contained throughout the piece, set almost exclusively at a piano or pianissimo dynamic indication, has reminded more than one listener of the techniques of that most accomplished of orchestrators, Maurice Ravel. Debussy’s methods, however, are entirely his own. Not surprisingly, the music drifts away into the sea, floating upon the few sparse harmonics of the two harpists. © All Music Guide

 

 

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Amadeus Mozart – Piano Sonatas – w scores

Posted in Uncategorized by Higher Density Blog on November 12, 2018

 

 

 

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Edvard Grieg – Piano Concerto A Minor – Leif Ove Andsnes, Pianist – Leonard Slatkin, Conductor

Posted in Uncategorized by Higher Density Blog on September 26, 2018

 

Published on Sep 11, 2014

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Gustav Mahler – Das Lied von der Erde (Songs of the Earth)

Posted in Uncategorized by Higher Density Blog on September 25, 2018

 

 

Published on Oct 13, 2015

– Composer: Gustav Mahler (7 July 1860 — 18 May 1911) – Orchestra: Wiener Philharmoniker – Conductor: Bruno Walter – Soloists: Julius Patzak (tenor), Kathleen Ferrier (alto) –
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Year of recording: 1952 Das Lied von der Erde [The Song of the Earth], written in 1908-1909. 00:00 – I. Das Trinklied vom Jammer der Erde 08:47 – II. Der Einsame im Herbst 18:05 – III. Von der Jugend 21:10 – IV. Von der Schönheit 28:00 – V. Der Trunkene im Frühling 32:27 – VI. Der Abschied
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Mahler conceived this large-scale work for two vocal soloists and orchestra in 1908. Laid out in six separate movements, each of them an independent song, the work is described on the title-page as Eine Symphonie für eine Tenor- und eine Alt- (oder Bariton-) Stimme und Orchester (nach Hans Bethges “Die chinesische Flöte”) — “A Symphony for Tenor and Alto (or Baritone) Voice and Orchestra (after Hans Bethge’s ‘The Chinese Flute'”). Bethge’s text was published in the autumn of 1907. Mahler’s use of ‘Chinese’ motifs in the music is unique in his output. Composed in the years 1908–1909, it followed the Eighth Symphony,
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but is not numbered as the Ninth, which is a different work. Following the most painful period (1907) in his life, Mahler touches on issues of living, parting and salvation with this work. Mahler himself wrote: “I think it is probably the most personal composition I have created thus far.” Bruno Walter (the conductor in this performance) called it “the most personal utterance among Mahler’s creations, and perhaps in all music.” Four of the Chinese poems used by Mahler (“Das Trinklied vom Jammer der Erde”, “Von der Jugend”, “Von der Schönheit” and “Der Trunkene im Frühling”) are by Li Bai, the famous Tang dynasty wandering poet.
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The German text used by Mahler was derived from Hans Bethge’s translations in his book Die chinesische Flöte (1907). “Der Einsame im Herbst” is by Qian Qi and “Der Abschied” combines poems by Mong Hao-Ran and Wang Wei, plus several additional lines by Mahler himself. The original public performance was given on 20 November 1911 in the Tonhalle in Munich, with Bruno Walter conducting and sung by Sara Cahier and William Miller. One of the earliest in London (possibly the first) was in January 1913 at the Queen’s Hall, under Henry Wood, where it was sung by Gervase Elwes and Doris Woodall: Wood thought it ‘excessively modern but very beautiful’
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In 1960, 100 years after Mahler’s birth, the great composer / conductor and Mahler champion Leonard Bernstein described this as Mahler’s greatest work. Anecdotes concerning Kathleen Ferrier: – The first time she performed this work with Bruno Walter, Ferrier did not sing the last few notes “ewig” (“forever”) as she was in tears. For this “unprofessionalism” she apologised profusely, to which Walter then gallantly replied, “My dear Miss Ferrier, if we were all as professional as you we would all be in tears.” – At the time of the recording, Kathleen Ferrier was in considerable pain from the cancer from which she was suffering. The orchestra were aware of just how ill she was and played their socks off for her. The result is one of only a handful of occasions when something quite magical is captured on disc. Kathleen Ferrier died, 17 months later, at the age of only 41.

 

 

 

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Cesat Franck – Violin Sonata – Anne Sophie Mutter, Orkis

Posted in Uncategorized by Higher Density Blog on September 5, 2018

DUANE:   An emotionally rich performance; great clarity, perfect ensemble unity!

 

 

Published on Apr 6, 2017

S-VHS → PC 1st [0:27] 2nd [10:32] 3rd [14:58] 4th [22:18] Anne-Sophie Mutter [vn] Lambert Orkis [pf] 1989.12.9 Tokyo. Japan Live
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YO-YO-MA – Ennio Morricone: Gabriel’s Oboe, The Falls

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

 

Published on Aug 12, 2008

My first video uploaded onto youtube. I simply threw together a couple of pictures to make a slideshow. The music in this video is “Gabriel’s oboe and The Falls” from the movie “The Mission.” Simply close your eyes, listen to the music, and relax.
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Within Blue Empires – Paul Lovatt-Cooper – Amsterdam Brass

Posted in Uncategorized by Higher Density Blog on August 19, 2018

 

Published on Feb 2, 2014

Amsterdam Brass met Within Blue Empires van Paul Lovatt-Cooper tijdens de Nationale Brassband Kampioenschappen in 2010. Amsterdam Brass werd hiermee 2e
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Franck: Violin Sonata / Mutter Orkis

Posted in Uncategorized by Higher Density Blog on August 10, 2018

 

Published on Apr 6, 2017

S-VHS → PC 1st [0:27] 2nd [10:32] 3rd [14:58] 4th [22:18] Anne-Sophie Mutter [vn] Lambert Orkis [pf] 1989.12.9 Tokyo. Japan Live

 

 

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RAVEL – La Valse – Animated Music Score

Posted in Uncategorized by Higher Density Blog on July 30, 2018

 

Published on Jul 10, 2018

La valse, by Maurice Ravel, performed by the Boston Philharmonic Youth Orchestra under the direction of Benjamin Zander, with an animated graphical score. FAQ Q: When was this performed? A: The recording is from a May 6, 2018 performance, which was simulcast live. Here is a video of that performance: https://www.youtube.com/watch?v=1nZsR… Q: Who else was involved in this project? A: Many people were involved, but I especially want to thank Etienne Abelin (who was instrumental in organizing the production of the animation), Lushen Wu (who synchronized the video in real time during the live performance), and Antonio Oliart Ros (who recorded the audio). Q: Where can I learn more about the performers and conductor? A: Here … https://www.bostonphil.org/about/bost… Q: Where can I learn more about the piece? A: As usual, here … https://en.wikipedia.org/wiki/La_valse Q: I appreciate the animated graphical scores you make; how can I support your work? A: Thank you! The easiest way to support my work is by contributing via Patreon: http://www.patreon.com/musanim If you’d like to help in more specific way, consider this: http://www.musanim.com/underwriting Q: Could you please do a video of _______? A: Please see this: http://www.musanim.com/requests/

 

 

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DAVID FOSTER – Composer, Songwriter, Producer

Posted in Uncategorized by Higher Density Blog on July 25, 2018

 

 

 

 

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Stravinsky: The Firebird / Gergiev · Vienna Philarmonic · Salzburg Festival 2000

Posted in Uncategorized by Higher Density Blog on July 20, 2018

 

Published on Nov 6, 2011

Gran presentación de la Orquesta Filarmónica de Viena, conducida por el director ruso Valery Gergiev en [a mi juicio personal] una de las más grandes y magníficas interpretaciones del Pájaro de Fuego (L’Oiseau de feu) de Igor Stravinsky, que se tenga conocimiento, durante el Festival de Salzburgo 2000. Great presentation of the Vienna Philharmonic conducted by the russian Maestro Valery Gergiev, in one of the most powerful and greatest presentation of The Firebird (L’Oiseau de feu) of Igor Stravinsky at Salzburg Festival 2000. (C) Deusche Grammophon, ORF/RM Associates Limited , Music Publishing Rights Collecting Society, UMPG Publishing and all their respective owners. There’s no personal work here. (C) Deutsche Grammophon, ORF/RM Associates Limited et toutes leurs propriétaires respectifs.

 

 

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Happy July 4th!

Posted in Uncategorized by Higher Density Blog on July 4, 2018

 

 

 

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Rachmaninoff – Étude-Tableaux Op. 39 No. 5 (Kissin)

Posted in Uncategorized by Higher Density Blog on June 28, 2018

Published on Jan 31, 2016

Sergei Rachmaninoff – Étude-Tableaux, Op. 39 No. 5 in E-flat minor Piano: Evgeny Kissin

 

 

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György Ligeti – Six Bagatelles, CARION, 2014

Posted in Uncategorized by Higher Density Blog on June 24, 2018

 

Published on Jan 28, 2014

Ligeti’s Six Bagatelles is Carion’s signature piece since 2004. It perfectly demonstrates Danish ensembles unique performance style – movement and elements of choreography. https://www.facebook.com/carion see also our video of Nielsen’s Quintet op. 43 – http://youtu.be/Ow0sYQH-8HQ http://www.carion.dk György Ligeti ( 1923-2006), Six Bagatelles for Woodwind Quintet I. Allegro con spirito II. Rubato. Lamentoso III. Allegro grazioso IV. Presto ruvido V. Adagio. Mesto — Belá Bartók in memoriam VI. Molto vivace. Capriccioso CARION: Dora Seres, flute Egils Upatnieks, oboe Egīls Šēfers, clarinet David M.A.P. Palmquist, horn Niels Anders Vedsten Larsen, bassoon Recorded in Mogens Dahl Concert Hall in Copenhagen Video by Jānis Vingris, Eho Filma.

 

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Ludovico Einaudi – Elegy for the Arctic – Official Live, Greenpeace

Posted in Uncategorized by Higher Density Blog on May 24, 2018

 

 

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Rachmaninoff – Symphonic Dances op.45

Posted in Uncategorized by Higher Density Blog on May 20, 2018

Published on Dec 18, 2011

Meer op http://www.hetzondagochtendconcert.nl en http://klassiek.avro.nl Radio Filharmonisch Orkest o.l.v. Edward Gardner 18 december 2011, 11:00 uur, Grote Zaal van het Concertgebouw Amsterdam. Rachmaninov: Symfonische Dansen

 

 

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LEONID BERNSTEIN – Symphonic Dances from West Side Story

Posted in Uncategorized by Higher Density Blog on May 20, 2018

 

Published on Jan 5, 2012

Leonard Bernstein Israel Philharmonic Orchestra The Symphony Hall, Osaka, 1985
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