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Giuseppe Maria Jacchini (yah-KEE-nee) was an important composer in the development of music for the cello in the Baroque era. His composition teacher was Giacomo Antonio Perti and his cello teacher Domenico Gabrieli, and it was said that Jacchini was his star pupil. On October 31, 1689, he became a regular cellist of the orchestra at the church of San Petronio in Bologna. It is likely that he was sometimes hired as an extra cellist on some occasions before that.

He remained in that position for the rest of his life, except for a period from 1693 to 1701, during which the orchestra had been disbanded for financial reasons. He was made a member of the Accademia Filarmonica of Bologna on December 16, 1688. His interest in it was apparently musical only, for there were members who objected that he did not attend to the spiritual exercises and sacred functions of the organization. When his name was drawn to become its leader in 1709, he declined, saying he did not want such a dignified position. Thereafter, his name was excluded from the annual draw, although he was still allowed to enter his compositions in an annual competition for performance each year on the saint’s feast day.

On a bit of baroque kick as of late.  Liking this ensemble muchly. :)

 

Georg Philipp Telemann (14 March 1681 – 25 June 1767) (German pronunciation: [ˈteːləman]) was a German Baroque composer and multi-instrumentalist. Almost completely self-taught in music, he became a composer against his family’s wishes. After studying in Magdeburg, Zellerfeld, and Hildesheim, Telemann entered the University of Leipzig to study law, but eventually settled on a career in music. He held important positions in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg in 1721, where he became musical director of the city’s five main churches. While Telemann’s career prospered, his personal life was always troubled: his first wife died only a few months after their marriage, and his second wife had extramarital affairs and accumulated a large gambling debt before leaving Telemann.

Telemann was and still is one of the most prolific composers in history[1] (at least in terms of surviving oeuvre)[2] and was considered by his contemporaries to be one of the leading German composers of the time—he was compared favorably both to his friend Johann Sebastian Bach, who made Telemann the godfather and namesake of his son Carl Philipp Emanuel, and to George Frideric Handel, whom Telemann also knew personally. Telemann’s music incorporates several national styles (French, Italian) and is even at times influenced by Polish popular music. He remained at the forefront of all new musical tendencies and his music is an important link between the late Baroque and early Classical styles.

The Largo and Presto movements from Antonio Vivaldi’s Concerto in F Major for Recorder and Strings, RV 433, with soloist Hanneke van Proosdij, recorder, and the San Francisco Early Music Ensemble Voices of Music.

Such a far cry from the elementary music classes that feature the recorder.

Korobeiniki” (Russian: Коробейники, lit. Peddlers) is a nineteenth-century Russian folk song that tells of a meeting between a peddler and a girl, describing their haggling over goods in a veiled metaphor for courtship.

The song “Korobeiniki” is based on a poem with the same name by Nikolay Nekrasov, written and printed in the Sovremennik magazine in 1861.[1] Due to its increasing tempo and the dance style associated with it, it quickly became a popular Russian folk song.[2]

Korobeiniki were peddlers with trays, selling fabric, haberdashery, books and other small things in pre-revolutionary Russia.[3] Nekrasov’s poem is a sad story about the love between a peasant girl, Katya, and a young peddler. They meet each other in a rye field at night where he has promised her a good deal on the goods he carries, before they are sold in the market at day. Only the night knows what happens between them in the rye field, but she is not so simple and does not take any of the goods which he offers her. What is the point, she figures, to have all that without him – her first and only love? She takes only a small turquoise ring, as a memory, and he promises to marry her when he comes back from his commerce trip. He continues his journey and she waits for him with caution. His business goes very well and he makes a lot of money, but on the way back he is killed and robbed by a forest ranger whom he asks for directions. So he never comes back to marry Katya. The song is the beginning of the original poem; it only recounts Katya’s first meeting with the young peddler when their relation is getting off to a happy start.

It’s a still life watercolour
Of a now-late afternoon
As the sun shines through the curtained lace
And shadows wash the room

And we sit and drink our coffee
Couched in our indifference, like shells upon the shore
You can hear the ocean roar

In the dangling conversation
And the superficial sighs
The borders of our lives

And you read your Emily Dickinson
And I my Robert Frost
And we note our place with book markers
That measure what we’ve lost

Like a poem poorly written
We are verses out of rhythm
Couplets out of rhyme
In syncopated time

And the dangled conversation
And the superficial sighs
Are the borders of our lives

Yes, we speak of things that matter
With words that must be said
“Can analysis be worthwhile?”
“Is the theatre really dead?”

And how the room is softly faded
And I only kiss your shadow, I cannot feel your hand
You’re a stranger now unto me

Lost in the dangling conversation
And the superficial sighs
In the borders of our lives

No Doubt is one of my favourite bands, it seems, they have a song for almost any occasion.

You and me
We used to be together
Everyday together always
I really feel
That I’m losing my best friend
I can’t believe
This could be the end
It looks as though you’re letting go
And if it’s real
Well I don’t want to know

Don’t speak
I know just what you’re saying
So please stop explaining
Don’t tell me ’cause it hurts
Don’t speak
I know what you’re thinking
I don’t need your reasons
Don’t tell me ’cause it hurts

Our memories
Well, they can be inviting
But some are altogether
Mighty frightening
As we die, both you and I
With my head in my hands
I sit and cry

Don’t speak
I know just what you’re saying
So please stop explaining
Don’t tell me ’cause it hurts (no, no, no)
Don’t speak
I know what you’re thinking
I don’t need your reasons
Don’t tell me ’cause it hurts

It’s all ending
I gotta stop pretending who we are
You and me I can see us dying, are we?

Don’t speak
I know just what you’re saying
So please stop explaining
Don’t tell me ’cause it hurts (no, no, no)
Don’t speak
I know what you’re thinking
And I don’t need your reasons
Don’t tell me ’cause it hurts
Don’t tell me ’cause it hurts!
I know what you’re saying
So please stop explaining

Don’t speak
Don’t speak
Don’t speak
Oh I know what you’re thinking
And I don’t need your reasons
I know you’re good
I know you’re good
I know you’re real good
Oh, la la la la la la, la la la la la la
Don’t, don’t, uh-huh hush, hush darlin’
Hush, hush darlin’ hush, hush
Don’t tell me tell me ’cause it hurts
Hush, hush darlin’ hush, hush darlin’
Hush, hush don’t tell me tell me ’cause it hurts

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