I Write The Music

Alberto Ginastera – Suite de Danzas Criollas for Piano, Op. 15

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

Bach – A Passionate Life – (2013)

Posted in Uncategorized by Higher Density Blog on April 30, 2017

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Wolfgang Amadeus Mozart – Serenade No. 10 in B-flat major, K. 361 “Gran Partita”

Posted in Uncategorized by Higher Density Blog on April 23, 2017

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Published on Oct 27, 2015

– Composer: Wolfgang Amadeus Mozart (27 January 1756 — 5 December 1791)
– Performers:
Oboe – Stephen Taylor (principal) & Melanie Field
Clarinet – William Blount (principal) & Daniel Olsen
Bassett Horn – Gary Koch (principal) & Mitchell Weiss
Horn – Stewart Rose (principal), Scott Temple, William Purvis, and Russell Rizner
Bassoon – Dennis Godburn (principal) & Marc Goldberg
String Bass – John Feeney
– Conductor: Sir Charles Mackerras
– Year of recording: 1994

Serenade No. 10 for winds in B flat major (“Gran Partita”), K. 361 (K. 370a), written in 1781.

00:00 – I. Largo. Molto Allegro
09:18 – II. Menuetto – Trio I – Trio II
19:35 – III. Adagio
25:06 – IV. Menuetto. Allegretto – Trio I – Trio II
30:28 – V. Romance. Adagio – Allegretto – Adagio
37:49 – VI. Tema con Variazioni
47:22 – VII. Finale. Molto Allegro

Mozart’s 10th Serenade for winds is scored for thirteen instruments (twelve winds and string bass). The piece was probably composed in 1781 or 1782 and is often known by the subtitle “Gran Partita”, though the title is a misspelling and not from Mozart’s hand.

– The opening movement begins with a slow introduction in B flat major in which tutti syncopated rhythms are set in opposition to solo passages for clarinet and oboe. This leads into the Allegro moderato, which is a monothematic sonata form. The first theme of the exposition opens, originally presented in B flat major in the clarinets, later returns in F major in the basset horns and oboes in a modified form as the second theme. This theme continues to be explored in the development and returns in the recapitulation, this time in B flat major both times.

– The second movement is a minuet featuring two contrasting trio sections. The minuet section is in B flat major and uses all the instruments extensively. The first trio is in E-flat major and employs only the clarinets and basset horns. This section leads into a repeat of the minuet section. The second trio section is in the relative minor, G minor, and extensively uses the solo oboe, basset horn and bassoon.

– The third movement, described by Goodwin as “virtually an ‘operatic’ ensemble of passionate feeling and sensuous warmth”, marked Adagio, is in E flat major. A syncopated pulse occurs almost throughout the movement while solo lines alternate between the solo oboe, clarinet and basset horn.

– The fourth movement is a second minuet; like the second movement, it has two trio sections. The fast, staccato minuet section is in B flat major. The first trio, by contrast, has fewer staccato notes and is in the parallel minor, B-flat minor. After the minuet section is repeated, the second trio is played. This section is in F major and is largely legato.

– The fifth movement, labeled Romance, returns to the slow tempo and E flat major tonality of the third movement. The movement begins and ends with an Adagio section in the tonic and in triple meter with many long notes in the melody. Contrasting with these sections is an Allegretto section between them, which is in C minor and features constant pulse in the bassoons.

– The sixth movement is a set of six variations on an andante theme in B flat major. The theme is presented primarily by the solo clarinet. The variations make use of various rhythmic motives and often feature solo instruments; for example, the first variation features the solo oboe. Unlike the other variations, all of which are in B flat major, the fourth variation is in B flat minor. The last two variations are in different tempos from the rest of the movement: the fifth is marked Adagio, while the sixth is marked Allegretto. The last variation is also in triple meter, in contrast with the other variations, which are in duple meter. This movement, without variation three, was adapted by Mozart as the second movement of the Flute Quartet in C major (K. 285b).

– The seventh and last movement is a rondo. The movement employs many tutti passages in which the oboes and clarinets play in unison, particularly in the rondo theme. The episodes between the returns of the theme feature a greater degree of interplay between the instruments.

There is a famous reference to this piece in the film “Amadeus” (Milos Forman 1984). Salieri’s first encounter with Mozart is at a performance of this piece, where he listens to it and is overwhelmed. This is his fantastic quote on the 3rd movement (Adagio): “On the page it looked nothing. The beginning simple, almost comic. Just a pulse – bassoons and basset horns – like a rusty squeezebox. Then suddenly – high above it – an oboe, a single note, hanging there unwavering, till a clarinet took over and sweetened it into a phrase of such delight! This was no composition by a performing monkey! This was a music I’d never heard. Filled with such longing, such unfulfillable longing, it had me trembling. It seemed to me that I was hearing the very voice of God.”

 

Overcoming Composer’s Block – Art of Composing

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

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Art of Composing

 

JOAQUIN ACHUCARRO plays GRANADOS Goyescas COMPLETE (1980)

Posted in Uncategorized by Higher Density Blog on March 30, 2017

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Arvo Part – Fratres For Cello And Piano

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

 

 

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Happy Birthday, Samuel Barber. Here’s Your New Documentary Called “Absolute Beauty”

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

Samuel Barber, one of America’s most celebrated composers, was born on this day (April 9) in 1910. The young filmmaker H. Paul Moon has made a full-length documentary about Barber that will be released later this month. “I went out on a limb with this project, self-distributing, keeping it independent, making sure I got things right…

via Happy Birthday, Samuel Barber. Here’s Your New Documentary Called “Absolute Beauty” — Sequenza21/

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Darius Milhaud – Scaramouche

Posted in Uncategorized by Higher Density Blog on March 6, 2017

Martha Argerich and Cristina Marton, pianos.

via Video: Darius Milhaud: ‘Scaramouche’ — classical life

Francis Poulenc : Trio for piano, oboe and bassoon (1926)

Posted in Uncategorized by Higher Density Blog on February 1, 2017

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Nielsen – Aladdin, Suite for Orchestra – Järvi

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

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Introducing Andrew Rubin and a New Guitar Concerto! – Interview Part 1

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

I had the most fantastic pleasure last week to speak with an exceptionally talented young guitarist, composer and orchestrator by the name of Andrew Rubin. Californian-based Rubin has recently released, in digital format, his first full-scale classical work – Guitar Concerto – written with rock legend Jon Anderson, along with a live concert film and recording of Rubin […]

via Introducing Andrew Rubin and a New Guitar Concerto! – Interview Part 1 — Classical Guitar n Stuff

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“Spem in alium” by Thomas Tallis

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

Last week we talked about Renaissance music, so today I’m going to introduce you to Renaissance composer Thomas Tallis and his choral motet Spem in alium.

via “Spem in alium” by Thomas Tallis — a pianist’s musings

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Positively Percy Grainger

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

G’day, g’day, lovely musicians! It’s that special time of month once again…time for me to yabber about another of my all time favorite composers. Ace! *pops off an obligatory party popper that I actually just found under my bed* Oh- and to celebrate, I’m going to attempt to use Australian slang throughout this entire post! […]

via Positively Percy Grainger — The Scherzo Soul

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Meet the composers – Andrew Aronowicz

Posted in Uncategorized by Higher Density Blog on January 14, 2017

Andrew Aronowicz is a passionate writer of music and words, and a promising young mind in Australian classical music. He holds a Master of Music from the University of Melbourne, and was an Australian Postgraduate Award recipient during his post-graduate candidature. He is also the recipient of an Australia Council ArtStart grant. Taking cues from […]

via Meet the composers – Andrew Aronowicz — 3 Shades Black

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Sir Arnold Bax – Spring Fire (1913)

Posted in Uncategorized by Higher Density Blog on January 6, 2017

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Composer Profile – Andrea Ramsey

Posted in Uncategorized by Higher Density Blog on January 6, 2017

by Jen Sper, School Choral Music Specialist One of the most special and powerful things about being a choral musician is the beautiful relationship between music and text – few composers exemplify the incredible possibilities inherent in this relationship like Andrea Ramsey. Her compositions are musically satisfying in both technical concepts and the deeply emotional […]

via Composer Profile: Andrea Ramsey — Stanton’s Sheet Music

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Marco Missinato – What We Say When We Profoundly Connect with Music

Posted in Uncategorized by Higher Density Blog on December 23, 2016

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Marco Missinato

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Beethoven – Complete String Quartets

Posted in Uncategorized by Higher Density Blog on December 16, 2016

December 15, Birthday of Ludwig van Beethoven — Kurt Nemes’ Classical Music Almanac

Posted in Uncategorized by Higher Density Blog on December 16, 2016

Today is Beethoven’s birthday, and in his honor, I’m featuring a work of his which is one of my favorites–Violin Concerto in D. I don’t know what acoustic properties make it so, but I find the violin one of the most appealing and expressive of all the instruments. That you find it used in nearly […]

via December 15, Birthday of Ludwig van Beethoven — Kurt Nemes’ Classical Music Almanac

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Pietro Locatelli – Concerto Grosso

Posted in Uncategorized by Higher Density Blog on December 13, 2016

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