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เข้าร่วมเมื่อ 16 ม.ค. 2012
coloratura basso profundo
Haydn: Capriccio on 'Acht Sauschneider müssen sein', Hob. XVII/1 (1765) with score
Performer: Bart van Oort (fortepiano)
From an article written by Andras Schiff:
I had the pleasure and privilege of conducting Haydn's Symphony No 80 in D minor in Salzburg recently. It's an astonishing work, full of surprises, and almost completely unknown. The first movement is typically Sturm und Drang until the exposition is suddenly interrupted by a charming and elegant dance-like theme. In the development section, Haydn introduces unusually long pauses and, with daring modulations, makes unexpected excursions into strange tonalities. The last movement - the Presto - is a tour de force of rhythmic ambiguities: the listener has to guess where the upbeats and the downbeats are; only after 32 bars does Haydn introduce rhythmic regularity. It's ingenious, and extremely funny. But in Salzburg no one laughed. No one even smiled. It seems to be much easier to make an audience cry than it is to make them laugh. There are many music-lovers who won't even admit that humour has a place in what we call classical music. These are people who have no difficulty recognising sadness, tragedy, grief, majesty and grandeur - because these are serious attributes, and they want their beloved music to be "serious". For them jokes are made of cheap, vulgar and inferior matter that cannot be tolerated on the altar of High Art.
Haydn was writing for a public that understood perfectly his musical language. In Eisenstadt and Esterháza, in Vienna and Paris, and first and foremost in London, he was surrounded by a small but knowledgeable circle of professional and amateur musicians who received each new work with interest and appreciation. His audience was familiar with his earlier compositions, they knew his personal style and recognised immediately the unusual features of a new symphony. Musical expectations and surprises did not have to be explained, and Haydn's humour was able to flourish. Today's listening community is of course very different, and all too often we feel the need of a "Japanese booklet" to enlighten certain members of the audience.
Haydn's keyboard works are full of delicious surprises. Take his early Capriccio in G major, which takes as its theme the folk song Acht Sauschneider müssen sein. The text of this song is a humorous one: it describes castrating a pig, an operation for which no fewer than eight expert butchers were needed. Haydn translates this into musical terms by wandering wildly from one key to the next, presenting the main theme in its entirety or in fragmented form through various registers of the instrument. There is nothing conventional about this piece, nothing that would have met listeners' expectations.
From an article written by Andras Schiff:
I had the pleasure and privilege of conducting Haydn's Symphony No 80 in D minor in Salzburg recently. It's an astonishing work, full of surprises, and almost completely unknown. The first movement is typically Sturm und Drang until the exposition is suddenly interrupted by a charming and elegant dance-like theme. In the development section, Haydn introduces unusually long pauses and, with daring modulations, makes unexpected excursions into strange tonalities. The last movement - the Presto - is a tour de force of rhythmic ambiguities: the listener has to guess where the upbeats and the downbeats are; only after 32 bars does Haydn introduce rhythmic regularity. It's ingenious, and extremely funny. But in Salzburg no one laughed. No one even smiled. It seems to be much easier to make an audience cry than it is to make them laugh. There are many music-lovers who won't even admit that humour has a place in what we call classical music. These are people who have no difficulty recognising sadness, tragedy, grief, majesty and grandeur - because these are serious attributes, and they want their beloved music to be "serious". For them jokes are made of cheap, vulgar and inferior matter that cannot be tolerated on the altar of High Art.
Haydn was writing for a public that understood perfectly his musical language. In Eisenstadt and Esterháza, in Vienna and Paris, and first and foremost in London, he was surrounded by a small but knowledgeable circle of professional and amateur musicians who received each new work with interest and appreciation. His audience was familiar with his earlier compositions, they knew his personal style and recognised immediately the unusual features of a new symphony. Musical expectations and surprises did not have to be explained, and Haydn's humour was able to flourish. Today's listening community is of course very different, and all too often we feel the need of a "Japanese booklet" to enlighten certain members of the audience.
Haydn's keyboard works are full of delicious surprises. Take his early Capriccio in G major, which takes as its theme the folk song Acht Sauschneider müssen sein. The text of this song is a humorous one: it describes castrating a pig, an operation for which no fewer than eight expert butchers were needed. Haydn translates this into musical terms by wandering wildly from one key to the next, presenting the main theme in its entirety or in fragmented form through various registers of the instrument. There is nothing conventional about this piece, nothing that would have met listeners' expectations.
มุมมอง: 13
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Hindemith: String Trio No. 1, Op. 34 (1924) with score
มุมมอง 394 ชั่วโมงที่ผ่านมา
Performers: Trio Zimmermann (Frank Peter Zimmermann, Antoine Tamestit, Christian Poltéra) 0:00 Toccata (schnelle Halbe) 4:50 Langsam und mit großer Ruhe 10:59 Mäßig schnelle Viertel 12:36 Fuge (sehr lebhafte Halbe) Description from LA Phil's website: In the immediate aftermath of World War I, European composers, particularly in France and Germany, consciously sought new modes of expression that...
Aaron J. Kernis: Musica Celestis for string orchestra (1990/1991) with score
มุมมอง 1742 หลายเดือนก่อน
Performers: Hugh Wolff (conductor), City of Birmingham Symphony Orchestra This was originally the slow movement of his first string quartet, arranged for string orchestra. I like the variety of string writing techniques and tempo changes Notes by the composer: Musica Celestis is inspired by the medieval conception of that phrase which refers to the singing of the angels in heaven in praise of G...
Villa-Lobos: Chôros No. 9 for orchestra (1929-1942) with score
มุมมอง 1052 หลายเดือนก่อน
Performers: John Neschling (conductor), São Paulo Symphony Orchestra Description from a Naxos booklet: Heitor Villa-Lobos was born in Rio de Janeiro in 1887. His father, an employee of the National Library, was also an amateur musician, enthusiastic enough to teach his son the cello, using to begin with a viola, more suited to the child's size. Villa Lobos was later to acquire a knowledge of th...
Toru Takemitsu: Vocalism A.I for magnetic tape (1956) with graphical score (certified hood classic)
มุมมอง 703 หลายเดือนก่อน
Graphical score available at: Kakinuma, T. (2018). Sneezing Toward the Sun: The Human Voice in the Musique concrète of Toru Takemitsu. Contemporary Music Review, 37(1-2), 20-35. doi.org/10.1080/07494467.2018.1453334 Description by Roger Dettmer for AllMusic: In 1950, at the age of 20, Toru Takemitsu made the decision that musical composition would be his lifelong career. Almost entirely self-ta...
Heitor Villa-Lobos: Chôros No. 3 (1925) for male choir and wind orchestra with score
มุมมอง 613 หลายเดือนก่อน
Performers: Marin Alsop (conductor), São Paulo Symphony Orchestra and choir Description from Wikipedia: Chôros No. 3 is one of the few major works in Villa-Lobos's catalogue based principally on documented Amerindian music. Its main musical subject, presented in canon or fugato at the beginning, is a feasting song of the Pareci tribe, "Nozani-ná", which had been collected in the Serra do Norte,...
Messiaen: Prière après la communion from Livre du Saint Sacrement (1984) with score
มุมมอง 1925 หลายเดือนก่อน
Performer: PM_ME_MESSIAEN_PICS on the organ of Pauluskirche, Darmstadt (Karl Schuke, 1969) The composer quotes Saint Bonaventure to describe this prayer after the communion: "My perfume and my sweetness, my peace and my suavity..." There are a lot of grinding tone clusters and huge outbursts in this final statement of Messiaen's organ output, but Prière après la communion features simple melodi...
Vaughan Williams: On Wenlock Edge for voice and orchestra (1909/1923) with score
มุมมอง 1845 หลายเดือนก่อน
Performers: Ian Bostridge (tenor), Bernard Haitink (conductor), London Philharmonic Orchestra The song cycle On Wenlock Edge, settings of poetry by A.E. Housman, was composed for the most part in 1909. The year before, Vaughan Williams had traveled to France to study with Maurice Ravel. Although they were only together for three months and concentrated primarily on orchestration studies, Vaugha...
Henri Duparc: Au pays où se fait la guerre (1870) for voice and orchestra (with score)
มุมมอง 665 หลายเดือนก่อน
Performers: Kiri Te Kanawa (voice), John Pritchard (conductor), Orchestre Symphonique de l'Opéra National Au pays où se fait la guerre Mon bel ami s’en est allé, Il semble à mon cœur désolé Qu’il ne reste que moi sur terre. En partant, au baiser d’adieu, Il m’a pris mon âme à ma bouche … Qui le tient si longtemps, mon Dieu? Voici le soleil qui se couche, Et moi toute seule en ma tour, J’attends...
Henri Duparc: Testament for voice and orchestra (1883/1900) with score
มุมมอง 575 หลายเดือนก่อน
Performers: Françoise Pollet (voice), Jérôme Kaltenbach (conductor), Orchestre Symphonique et Lyrique de Nancy
Krzysztof Penderecki: Viola Concerto (1983) with score
มุมมอง 1K5 หลายเดือนก่อน
Performers: Grigori Zhislin (viola), Szymon Kawalla (conductor), Polish Radio and TV Symphony Orchestra of Krakow Description from Culture Poland: Krzysztof Penderecki's Viola Concerto was commissioned in 1983 by the government of Venezuela to mark the bicentenary of birth of Simon Bolivar, the South American hero of the struggle for independence. Its first performance - in Caracas on 24th July...
Vaughan Williams: A Piper, from Two Poems by Seumas O'Sullivan (1925) with score
มุมมอง 1195 หลายเดือนก่อน
Performers: Roderick Williams (voice), William Vann (piano) The first song, The Twilight People can be heard here: th-cam.com/video/dfsRw1l92iU/w-d-xo.html
Elgar: Idylle for violin and piano, Op. 4 No. 1 (1884) with score
มุมมอง 3375 หลายเดือนก่อน
Performers: Simone Lamsma (violin), Yurie Miura (piano) It's the same thing as Salut d'Amour (the title for that was originally Liebesgruß) - it's Idylle not Idyll because everyone thinks having the title in Fr*nch makes the music more romantic
Frank Martin: Polyptyque for violin and two string orchestras (1973) with score
มุมมอง 2275 หลายเดือนก่อน
Performers: Christian Tetzlaff (violin), Munich Chamber Orchestra 0:08 I. Image des Rameaux. Allegro non troppo ma agitato 4:23 II. Image de la Chambre haute. Andante tranquillo 11:37 III. Image de Judas. Allegro 13:43 IV. Image de Gethsémané. Molto lento 18:24 V. Image de Jugement. Largamente 22:40 VI. Image de la Glorification. Andante - Allegro moderato From the composer: When Yehudi Menuhin...
Alfred Schnittke: Concerto No. 3 for violin and chamber orchestra (1978) with score
มุมมอง 2425 หลายเดือนก่อน
Performers: Gidon Kremer (violin), Christoph Eschenbach (conductor), Chamber Orchestra of Europe 0:05 I. Moderato 8:35 II. Agitate 14:39 III. Andante Programme notes by Andrew Lindemann Malone: Alfred Schnittke's Concerto No. 3 for Violin and Chamber Orchestra is a good example of the compositional style he calls polystylisticism. Schnittke conceives of polystylisticism as an ongoing dialogue b...
Henri Duparc: La vie antérieure for voice and orchestra (1884) with score
มุมมอง 855 หลายเดือนก่อน
Henri Duparc: La vie antérieure for voice and orchestra (1884) with score
Villa-Lobos: Suite for voice and violin (1923) with score
มุมมอง 1425 หลายเดือนก่อน
Villa-Lobos: Suite for voice and violin (1923) with score
Louis Vierne: Organ Symphony No. 4, Op. 32 (1914) with score
มุมมอง 5486 หลายเดือนก่อน
Louis Vierne: Organ Symphony No. 4, Op. 32 (1914) with score
Fauré: Ecce fidelis servus, Op. 54 (1889) with score
มุมมอง 2K10 หลายเดือนก่อน
Fauré: Ecce fidelis servus, Op. 54 (1889) with score
Fauré: Incidental Music for Caligula, Op. 52 (1888) with score
มุมมอง 55310 หลายเดือนก่อน
Fauré: Incidental Music for Caligula, Op. 52 (1888) with score
Shostakovich: Suite on Verses of Michelangelo Buonarroti/"Symphony No. 16", Op. 145a (with score)
มุมมอง 1.3K10 หลายเดือนก่อน
Shostakovich: Suite on Verses of Michelangelo Buonarroti/"Symphony No. 16", Op. 145a (with score)
Henri Duparc: La vague et la cloche for voice and orchestra (1871) with score
มุมมอง 13510 หลายเดือนก่อน
Henri Duparc: La vague et la cloche for voice and orchestra (1871) with score
Henri Duparc: L'invitation au voyage (1870) for voice and orchestra (with score)
มุมมอง 26810 หลายเดือนก่อน
Henri Duparc: L'invitation au voyage (1870) for voice and orchestra (with score)
Bohuslav Martinů: Avec un doigt/With one finger, H. 185 (1930) with score
มุมมอง 4.2K10 หลายเดือนก่อน
Bohuslav Martinů: Avec un doigt/With one finger, H. 185 (1930) with score
Elgar: Three Bavarian Dances, Op. 27 (1897) with score
มุมมอง 80010 หลายเดือนก่อน
Elgar: Three Bavarian Dances, Op. 27 (1897) with score
Rossini: Overture to Eduardo e Cristina (1819) with score
มุมมอง 73110 หลายเดือนก่อน
Rossini: Overture to Eduardo e Cristina (1819) with score
Vaughan Williams: The House of Life (1903) with score (Valentine's Day special?)
มุมมอง 2.5K10 หลายเดือนก่อน
Vaughan Williams: The House of Life (1903) with score (Valentine's Day special?)
There is a version of the 1st mov played by Hindemith himself on the viola that is worth checking. He plays it crazy fast!!
nice gaming channel
The structure of this piece is basically the same as 14: 11 songs, the first and tenth songs have the same theme, then one more song concludes the cycle. cool
This is wonderful music. It really could have been his Symphony No. 16, it fits in.
yep when i think about shostakovich's symphonies i include this
@@PM_ME_MESSIAEN_PICS So do I, now I've found this orchestration. Thank you so much for sharing it.
2:06 브람스 피협 2번 3악장
Is the women who sings in the 2nd Song Pauline Strauss?
no, Maria Reining
Very nice video. Never take it out.
I think those composers, like Boulez, who accuse Shostakovich of being strident, banal, etc. only knew a handful of his symphonies.
@@dion1949 Boulez just had strong opinions regarding everyone
8:00
If anyone have no idea what the lyrics are about, just… don’t ask…
it's what i do when people pm me messiaen pics
Very underrated masterpiece by one of the best organ composer
Lovely!
nice anime profile pic
Why is it in mono?
im just bad at making score videos
Very good, and you've improved your video making skills too. Why is the ending so quiet?
I do not know - think it's a problem with the original audio
Am I alone in thinking late Britten doesn't hold a candle to his early work, up to, and including, Peter Grimes. Not convinced at all by the musical language of works like this; just sounds contrived and forced.
absolutely not - look at the dramatic effects he manages to get from A Poison Tree. any third-rate composer could only dream of writing so imaginatively
18:20 хор русалок
Sublime version ! Je ne connaissais pas cette cantatrice : merci pour cette découverte.
11:50 solo 16:45 play-along 20:23 solo!!! 26:03 aria end 32:04 44:30 47:20 48:00 48:20 rhythm 49:19 listen 51:35
it's showtime tomorrow! some finishing touches left, thanks so much for the score video, helped me a ton🫶
7:50 rhythm 8:50 polonaise 30:16
00:38 16:39 syncope 28:45 38:14 harmonics 40:28 solo 45:36 47:15 49:43 53:50
OMyGod....Brilliant Innovation & Excitement....ALWAYS Maestro Heitor.....BRAVO from Acapulco!
I am a big admirer of Fauré’s works, but this feels like something the composer wrote for a Sunday morning on the previous Wednesday evening before he went to sleep.
even then, it's hard to match his gift for melody
rvw my beloved
Fascinating to hear Paul Hindemith style in A capella Chorus for extended time. His harmony and counterpoint are there. As i keep listening its going from a curiosity to "hey, that's good", to " Oh, i definitely like this. Das ist Important !" Glad I'm hearing this. This really is Hot Stuff. Hindemith sounds Cool is Chorus.
00:38 01:39 16:39 17:19 20:28 28:48 30:16 35:35 38:14 40:24 41:15 45:37 49:43 53:51
Thanks for this. Great piece.
Truly "lovely"!
The last lied is absolutely magical.
Yes, life is like that. I stop going around my cage when my keeper comes around with meat.
🤥
Our music theory teacher (New England, 1973) made us memorize this song as part of our final exam. This is literally the first time I've listened to it since then.
Mystical, magical perfection!
Love it, both composition and performance
Great music
based
差不多得了
Gurney gets it. He really gets it
Christoph Prégardien, my hero! He reaches perfection in this set of Brahms songs.
im going to hear him soon, hope he's not too old yet
@@PM_ME_MESSIAEN_PICS Envy! I think he is too much of a perfectionist to sing in poor voice. His mature style is ravishing in tone and interpretation.
@@colincruise1928 he was very good live! i'm glad I heard him
Didn't even know there is an orchestral version. Great piece!
7:53 8:26 19:00 24:15 26:37 30:16
Fantastic username.
@@carl.christiansson I've had just one person PM me Messiaen pics
@@PM_ME_MESSIAEN_PICS Messiaen's feet?! 😳🤩😍
@@carl.christiansson just saw a creepy comment yesterday saying that it was the first time he saw Messiaen's teeth 🥴
11:57 13:03 16:45 20:23 22:30 24:44 26:10 32:07 44:37 47:30 49:17 51:48
sorry if there are issues with the video sync
@@PM_ME_MESSIAEN_PICS oh no its ok! I'm just learning the harp part so I'm leaving time stamps to play along with🫡 thank you so much for the score!
@@leeujii yep I know those timestamps are for the harp part, it's great you learn with the full score
Макферсон мне очень нравится, бангер
giga based
@@ZewenShifu 太好了，我這頻道的經營更上一層樓，直接被拿到B站上了
@@PM_ME_MESSIAEN_PICS 你 B 站有账号吗？有的话我就不发了
@@PM_ME_MESSIAEN_PICS how come a channel with such a freaky name and profile picture has professional sounding comments like this, maybe a translation issue lol
@@bossm60 I just like shitposting lol
@@PM_ME_MESSIAEN_PICS oh, fair
One of my favourite composers of the last century! Please do more of his works!!
ok, since you wanted, i can do the concerto for seven
@@PM_ME_MESSIAEN_PICS Probably my favourite instrumental work by him. I'd appreciate it!
based Copland
based Martin
based Schnittke
This is adagio.
The tempo is adagietto.
.... and Edition Peters says: Tief erregt
bangin lyrics
ikr