You are currently browsing the category archive for the ‘Music’ category.
I hear beautiful music on the CKUA morning show, and then I have to share it, and furtively download the sheet music so I can reconfirm that is way above my grade level. :)
“It is common practice in the drafting of the oboe concerto by Alessandro Marcello, resorting in the second set on a decorated version of Johann Sebastian Bach. This comes from BWV 974 and provides an Italian of 16 edits concertos for harpsichord solo, which fall Bach anfertigte to 1713th
In studying the harpsichord version is noted that Bach not only the Oboe (and this not only in the slow movement) changed, but partially massively intervened in the accompaniment in the original work.
Some detail changes are solely due to the instrumentation, for example, Trill on long notes, chords, and the omission of the most repeated phrases that are played by the violins in the original one by the oboe and again.
Of course, the retransmission of the harpsichord version in the original cast, the risk of generating instrument specifically atypical phrases harbors. The insight into Bach’s employment with Italian music, its exact notation of ornaments otherwise usually free running and the mastery with which he has enriched with small interventions the composition, that risk is worth it.”
Greetings folks. A little bit of cross pollination going on today for this interlude. Last Saturday we were looking for female power anthems – songs that inspire and make you want to grab the world by the lapels and give it a good shake. Finding songs by dudes about taking names and kicking ass, was easy. Finding female artists with similar thematic material not so much. This song by Christina Perri was on the list of ‘girl’ power anthems. It is clean and elegant song that speaks fluently to my heart, and speaks volumes of how differently the world is perceived depending on how you were socialized.
—–
[Verse 1]
I know I can’t take one more step towards you,
Cause all that’s waiting is regret.
And don’t you know I’m not your ghost anymore,
You lost the love I loved the most.
[Pre-Chorus]
I learned to live half alive,
And now you want me one more time…
[Chorus]
And who do you think you are,
Running around leaving scars,
Collecting your jar of hearts,
And tearing love apart?
You’re gonna catch a cold,
From the ice inside your soul.
So don’t come back for me,
Who do you think you are?
[Verse 2]
I hear you’re asking all around,
If I am anywhere to be found.
But I’ve grown too strong,
To ever fall back in your arms.
[Pre-Chorus]
And I’ve learn to live half alive,
And now you want me one more time!
[Chorus]
And who do you think you are,
Running around leaving scars,
Collecting your jar of hearts,
And tearing love apart?
You’re gonna catch a cold,
From the ice inside your soul.
So don’t come back for me,
Who do you think you are?
[Bridge]
Dear, it took so long just to feel alright,
Remember how to put back the light in my eyes.
I wish I had missed the first time that we kissed,
Cause you broke all your promises.
And now you’re back,
You don’t get to get me back!
[Chorus]
And who do you think you are,
Running around leaving scars,
Collecting your jar of heart,
And tearing love apart?
You’re gonna catch a cold,
From the ice inside your soul.
So don’t come back for me,
Don’t come back at all!
[Outro]
And who do you think you are,
Running around leaving scars,
Collecting your jar of hearts,
And tearing love apart?
You’re gonna catch a cold,
From the ice inside your soul.
Don’t come back for me,
Don’t come back at all!
Who do you think you are?
Who do you think you are?
Who do you think you are?
I love Mahler No.1. The second movement is such an amazingly happy dance suite. I smile when listening to it.
The second movement is a modified minuet and trio. Mahler replaces the minuet with a Ländler, a 3/4 dance-form that was a precursor to the Austrian waltz. This is a popular structure in Mahler’s other symphonies, as well as Franz Schubert’s. One main theme repeats throughout the Ländler, and it gathers energy towards a hectic finish. The main melody outlines an A major chord: ![\relative c' { \clef treble \time 3/4 \key a \major \partial 4*1 e8-. r | a r r \autoBeamOff cis e, r | a4~ a8 r r e | a r \autoBeamOn a-.[ b-.] cis-.[ d-.] | e4~ e8 }](https://upload.wikimedia.org/score/r/s/rst3jlo8m67lgu7s63viqyr54mub897/rst3jlo8.png)
The trio contains contrasting lyrical material.
Antonio Lauro (August 3, 1917 – April 18, 1986) was a Venezuelan musician, considered to be one of the foremost South American composers for the guitar in the 20th century.
Our choir will be singing this in May. My very first Mass. :) The counting in some of the movements are quite tricky, as young Mozart decided that switching between common and cut time was a cool thing to do.
The Mass in G major (K. 49/47d) is the first full mass composed by Wolfgang Amadeus Mozart. It is a missa brevis scored for SATB soloists, SATB choir, violin I and II, viola, and basso continuo.
Mozart wrote the Mass in G major at the age of 12. It was however neither his first setting of a part of the mass ordinary — two years earlier he had already composed a Kyrie (K. 33) —, nor was it his largest composition with a religious theme up to date: his sacred musical play Die Schuldigkeit des ersten Gebots had been premiered in the previous year.
Composed in Vienna in the autumn of 1768, this mass is Mozart’s only missa brevis to feature a viola part. It is not clear what occasion it was composed for, and it has been confused with the Waisenhausmesse, composed in the same year.
Religious music at the time was increasingly influenced by opera and Baroque embellishments in instrumentation; Mozart’s early masses, such as K. 49/47d, have been seen as a return to the more austere settings of the pre-Baroque era.
The six movements of the Mass follow the traditional Order of Mass:
- “Kyrie” Adagio, G major, common time
- “Kyrie eleison…” Andante, G major, 3/4
- “Gloria” Allegro, G major, common time
- “Credo” Allegro, G major, 3/4
- “Et incarnatus est…” Poco Adagio, C major, cut common time
- “Et resurrexit…” Allegro, G major, cut common time
- “Et in Spiritum Sanctum…” Andante, C major, 3/4; bass solo
- “Et in unam sanctam…” Allegro, G major, cut common time
- “Sanctus” Andante, G major, 3/4
- “Pleni sunt coeli et terra…” Allegro, G major, 3/4
- “Hosanna in excelsis…” Allegro, G major, 4/2
- “Benedictus” Andante, C major, 3/4; soloist quartet
- “Hosanna in excelsis…” Allegro, G major, 4/2
- “Agnus Dei” Adagio, G major, cut common time
- “Dona nobis pacem…” Allegro, G major, 3/8
Étude Op. 25, No. 11 is a study for developing stamina, dexterity, and technique – essential skills for any concert pianist. It begins with a piano introduction of the main melody. The first theme follows, consisting of tumultuous cascades of semiquaver-tuplets (sixteenth-note-tuplets) and a leaping figure for the left hand in the relative major, C major, which shortly segues into a repetition of the first theme. It finishes with a short development into a fortissimo coda, and ends with one final statement of the theme.
bleatmop
Mystro
The Arbourist
Dead Wild Roses 
Your opinions…