Brilliant Classics
Published on Apr 18, 2017

Bringing together all seven of Schubert’s completed symphonies, as well as the much-loved B minor ‘Unfinished’, this set charts the development of Schubert’s voice as a symphonist. His first six symphonies were composed between 1813 and 1818 for the orchestra at the religious school that he attended in Vienna. Although they could be considered to be apprentice works, and are clearly influenced by Haydn, Mozart, Beethoven, and – in the case of the Sixth Symphony – Rossini, they are remarkable achievements for such a young composer, and the listener can hear some of the hallmarks of Schubert’s more forward-looking, romantic style, such as a bolder and richer harmonic language, beginning to emerge. After a serious illness in 1822, from which he only partially recovered, Schubert composed his final symphonic masterpieces, the ‘Unfinished’ (1822) and the ‘Great’ (1825–6). From the haunting slow introduction and the extraordinary sense of pathos of the ‘Unfinished’ to the joyful and rhythmically vital ‘Great’ symphony, both works showcase Schubert the symphonist at the peak of his powers and are some of the most popular and enduring pieces in the orchestral canon. Schubert’s complete symphonies are performed here by the legendary Staatskapelle Dresden under the inspired direction of celebrated conductor Herbert Blomstedt, praised by Gramophone for his “incomparably refined sensitivity and canny interpretative prowess”. Other information: – Recordings made between 1978 and 1981 at the Lukaskirche in Dresden. – “Probably the finest, most consistent Schubert cycles available” (David Hurwitz, Classicstoday.com, performance: 10).   00:00:00

Symphony No. 1 in D Major, D. 82: I. Adagio – Allegro vivace 00:10:15 Symphony No. 1 in D Major, D. 82: II. Andante 00:18:57 Symphony No. 1 in D Major, D. 82: III. Menuetto. Allegro 00:25:06 Symphony No. 1 in D Major, D. 82: IV. Allegro vivace 00:31:41 Symphony No. 2 in B-Flat Major, D. 125: I. Largo – Allegro vivace 00:42:10 Symphony No. 2 in B-Flat Major, D. 125: II. Andante 00:51:04 Symphony No. 2 in B-Flat Major, D. 125: III. Menuetto. Allegro vivace 00:54:48 Symphony No. 2 in B-Flat Major, D. 125: IV. Presto vivace 01:00:43 Symphony No. 3 in D Major, D. 200: I. Adagio maestoso – Allegro con brio 01:10:22 Symphony No. 3 in D Major, D. 200: II. Allegretto 01:14:50 Symphony No. 3 in D Major, D. 200: III. Menuetto. Vivace 01:18:57 Symphony No. 3 in D Major, D. 200: IV. Presto vivace 01:23:44 Symphony No. 4 in C Minor, D. 417 ‘Tragic’: I. Adagio molto 01:33:32 Symphony No. 4 in C Minor, D. 417 ‘Tragic’: II. Andante 01:43:05 Symphony No. 4 in C Minor, D. 417 ‘Tragic’: III. Menuetto. Allegro vivace 01:46:25 Symphony No. 4 in C Minor, D. 417 ‘Tragic’: IV. Allegro 01:54:09 Symphony No. 5 in B-Flat Major, D. 485: I. Allegro 02:01:20 Symphony No. 5 in B-Flat Major, D. 485: II. Andante con moto 02:12:09 Symphony No. 5 in B-Flat Major, D. 485: III. Menuetto. Allegro molto 02:17:22 Symphony No. 5 in B-Flat Major, D. 485: IV. Allegro vivace 02:23:20 Symphony No. 6 in C Major, D. 589: I. Adagio – Allegro 02:31:21 Symphony No. 6 in C Major, D. 589: II. Andante 02:37:44 Symphony No. 6 in C Major, D. 589: III. Scherzo. Presto 02:44:04 Symphony No. 6 in C Major, D. 589: IV. Allegro moderato 02:53:32 Symphony No. 8 in B Minor, D.759 ‘Die Unvollendete’: I. Allegro moderato 03:05:05 Symphony No. 8 in B Minor, D.759 ‘Die Unvollendete’: II. Andante con moto 03:17:47 Symphony No. 9 in C Major, Op. posth., D. 944 ‘The Great’: I. Andante – Allegro ma non troppo 03:32:30 Symphony No. 9 in C Major, Op. posth., D. 944 ‘The Great’: II. Andante con moto 03:48:24 Symphony No. 9 in C Major, Op. posth., D. 944 ‘The Great’: III. Scherzo. Allegro vivace 03:59:21 Symphony No. 9 in C Major, Op. posth., D. 944 ‘The Great’: IV. Finale. Allegro vivace Artist: Staatskappelle Dresden Herbert Blomstedt cunductor

Oxford Academic (Oxford University Press)

In this short film John Rutter reflects on his 50 or so years of composing some of the world’s most loved choral music, and offers some advice for emerging composers. For more short films featuring John Rutter, visit http://oxford.ly/2yWxTqN. John Rutter studied music at Clare College, Cambridge and first came to notice as a composer and arranger of Christmas carols and other choral pieces during those early years; today his compositions, including such concert-length works as Requiem, Magnificat, Mass of the Children, The Gift of Life, and Visions are performed around the world. John edits the Oxford Choral Classics series, and, with Sir David Willcocks, co-edited four volumes of Carols for Choirs. In 1983 he formed his own choir The Cambridge Singers, with whom he has made numerous recordings on the Collegium Records label, and he appears regularly in several countries as a guest conductor and choral ambassador. John holds a Lambeth Doctorate in Music, and was awarded a CBE for services to music in 2007. Music: ‘The Holy City’ from Visions, by John Rutter. Performed by Kerson Leong (violin), The Temple Church Boys’ Choir, The Cambridge Singers, and the Aurora Orchestra. Used by kind permission of Collegium records. © Oxford University Press

 

 

Published on Nov 4, 2015

– Composer: Sergei Sergeyevich Prokofiev (23 April 1891 — 5 March 1953) – Orchestra: Warsaw National Philharmonic Orchestra – Conductor: Witold Rowicki – Soloist: Sviatoslav Richter – Year of recording: 1958 Piano Concerto No. 5 in G major, Op. 55, written in 1931-1932. 00:00 – I. Allegro con brio 05:06 – II. Moderato ben accentuato 09:06 – III. Toccata. Allegro con fuoco (più presto che la prima volta) 10:59 – IV. Larghetto 17:40 – V. Vivo After the Fourth Piano Concerto, for the left hand, the Fifth is the least popular of the five piano concertos
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Prokofiev wrote. Yet the work offers much of great appeal and delivers a challenge to the finest virtuosos. The composer spoke of the Fifth’s abundance of melody, pointing out that each of its five movements contains four or more melodies. Those unfamiliar with the concerto might conclude from that statement that the work must be a large one; yet its duration is typically only 22 to 25 minutes. The formal structure of the concerto is unusual and rather episodic, hardly clinging to a typical sonata-allegro scheme. If a tag can be put on the work, one to capture both its music and performance features, it would be “athletic,” or perhaps “acrobatic.” –
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The first movement, marked Allegro con brio, offers a colorful, jumpy main theme, containing wide leaps for the piano and much difficult writing. A lyrical clarinet melody contrasts well with the main material and the movement eventually comes to a brilliant conclusion with a final backward leap on the piano. – The second movement carries the marking Moderato ben accentuato, and while a bit less effervescent and driven, it is also lively in its march theme and contains glissandos and glissando-like elements that leap about and emphasize the grotesque and humorous nature of the main theme. Those coming to the concerto for the first time may find this colorful, rhythmic movement the most appealing of the five. –
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The third movement Toccata derives its main theme from the opening of the first, and serves almost as a belated development section to it. Its furious pace (Allegro con fuoco) and challenging writing for the orchestra, especially for the string section, give the piece a mood of brilliance and breathlessness typical of the composer’s earlier Toccata and of other similar piano works. – The Larghetto fourth movement is the deepest of the five and also the most lyrical. Its main theme is gentle and lovely. A tense middle section is brilliantly conceived, with crashing chords on the piano at the climax accompanying the eerie orchestral rendering of the profound theme. – The finale, marked Vivo, contains a mixture of menace and humor, of otherworldliness and joy.
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Near the end of the exposition a variation on a theme from the third movement appears, and at the same racing tempo. After a dreamy, unearthly middle section, the mood brightens and the piece ends brilliantly. Prokofiev was the soloist in the work’s premiere on 31 October 1932 in Berlin, led by Wilhelm Furtwängler and on the same program with Paul Hindemith as violist in Berlioz’s Harold in Italy. While Prokofiev was only midway though his career, he wrote unfortunately no more works for piano and orchestra after the tepidly-received Fifth Concerto.

 

You have to be true to yourself

but at the same time listen to others and take advice,

listen to live performances,

listen to multiple recordings of the same piece

and work out how you want it to sound.

Record yourself and listen back;

in my experience it doesn’t always sound

the way you think it does!

If, like me, you have the privilege of

working with composers,

make sure you spend a decent amount of time with them

and get into their sound world.

via Meet the Artist – Tim Psappha, percussionist — The Cross-Eyed Pianist

 

 

 

Saint-Saens Bassoon Sonata:

 

 

Published on Dec 19, 2016

Royal Concertgebouw Orchestra Chamber Soloists play Paul Hindemith. Bassoon Sonata (1938) – Helma van den Brinck, Bassoon; Sepp Grotenhuis, Piano;

 

Stravinsky The Rite of Spring (Two-piano arrangement by composer) Part I : Adoration of the Earth Part II : The Sacrifice (15:02) Yeol Eum Son, Da Sol Kim 손열음, 김다솔 Pianos

Latin American Composers

November 19, 2017

 

 

 

 

 

 

First gig:
https://youtu.be/8OUVjR0oBmk
Daily life
https://youtu.be/NQHmG8ujTA0
Influenes
https://youtu.be/btUuJj1HwEM
Published on Mar 14, 2016

So you want to be a composer? Some words of wisdom from Carl Vine AO.

Considered one of Australia’s 10 Greatest Composers (Limelight Magazine 2015), Carl Vine AO is also Senior Lecturer in Composition at the Sydney Conservatorium and Artistic Director of Musica Viva Australia. Read more about him at http://carlvine.com/

It’s the Boroondara Eisteddfod’s 25th birthday and we’re celebrating the range of careers open to music lovers. LIKE our Facebook page for more insights from Australia’s inspiring arts leaders:https://www.facebook.com/boroondaraei…

Music: Garden of Bronze (2015) by Peggy Polias, Federation Bells, http://federationbells.com.au/. Visit http://peggypolias.com to hear more.

 

Boroondara 

 

 

The Romantic Era is a time when the larger forms become more mammoth than ever, and the miniature forms become more intimate than ever. In solo piano, we find both extremes, made possible through the sheer imagination, genius, and artistic brain powers of individuals, as well as the emerging technology of the modern piano and […]

via Simply Piano — Classical Music Thought Bubbles

“Too many pieces of music finish too long after the end.”

— Igor Stravinsky, composer, Russian Composer”

via “Too many pieces of music finish too long after the end.” — Art of Quotation

Composers of Ecuador

June 22, 2017

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musicophage rex

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Published on May 26, 2012

Symphony No. 2 (1958-59)

I. Allegro agitato –
II. Adagio maestoso –
III. Allegro

The second symphony of Chinese composer and violinist Ma Sicong (1912-1987), whose name is sometimes also rendered as Ma Sitzon. A native of Heifeng in Guangdong province, Ma became one of the first of his compatriots to become a professional violinist when he followed his older brother’s example and traveled to France at the age of eleven to study music at the conservatories of Nancy and Paris. His skill as a violinist and composer of violin music became legendary and he was known in China as the “King of the Violinists”. After the People’s Republic of China was established, Ma became the director of the China Central Conservatory of Music. In 1958, he served on the jury of the first International Tchaikovsky Competition in Moscow (that was Van Cliburn’s annus mirabilis). However, when the Cultural Revolution broke out in 1966, Ma and his colleagues at the conservatory fell into disfavour for teaching and playing Western-style classical music; they were all rounded up and sent to a reeducation camp, and their families were harassed by authorities. In 1967, Ma and his family managed to escape to Hong Kong, after which they settled in the United States permanently. Ma remained in exile for the rest of his life.

Ma’s Second Symphony was composed in 1958-59, and ostensibly, it takes as its subject the struggles of the Chinese Workers’ and Peasants’ Red Army. The composer claimed that there is a connection between his music and the poem “Loushan Pass” by Mao Zedong; however, the music can be also interpreted abstractly rather than programmatically. The vigorous first movement makes use of the Phrygian mode and it is in a fairly traditional sonata form. The second theme is derived from “Tian Xin Shun”, a folk song from north Shaanxi. After reaching a climactic moment of great intensity, the music transitions smoothly into the slow, sombre second movement, which bears some resemblance to a funeral march; it is an expression of mourning for fallen comrades-in-arms. However, the battle theme soon emerges again as the Army returns to the fray. The third and final movement is jubilant and lively, as the Army celebrates its victory. At one point the soldiers begin dancing the yangge, a popular rural folk-dance. In the end, a grand coda introduces a new heroic march theme that brings the work to a close.

Conductor: Cao Peng
Shanghai Philharmonic Orchestra

 

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bachlokillo

 

 

 

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WAGNER – Tristan und Isolde – Prelude and Liebestod (Georg Solti – Chicago Symphony Orchestra)

IMSLP Composer Page

May 4, 2017

In order to allow my music to be played and enjoyed, I am happy to announce that I have begun to share some of my compositions on IMSLP. The first piece I’ve uploaded is Percussion Quartet No. 1, Jungle Path. This piece was premiered back in March, 2015 as part of an LA Composers Collective […]

via IMSLP Composer Page — Danielle Rosaria, violinist

Earlier this week Susanna Eastburn, chief executive of Sound and Music, wrote an article expressing by March 2020, ‘at least 50% of the composers we work with will identify as women.’ This is a major step for gender equality in music and composing. The also article talks about gender equality and the ‘drop out’ rate of […]

via Composing and Gender Equality — Young Composers Project

Carl Nielsen (1865-1931)

January 25, 2017

 

East Windies Players begin 2017 by embarking on 20th Century music with Carl Nielsen’s famous Wind Quintet Op 43. Here is some generic info about Nielsen (for starters): Carl Nielsen age 14, 16th Battalion, Odense Denmark’s most prominent composer (orchestral and chamber music) Works are organized by CNW (Carl Nielsen Works) numbers Generally […]

via Carl Nielsen (1865-1931) — East Windies Quintet