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Here in Sunny Alberta, our seasons don’t quite match what the calendar might have you believe. So while it may be that it has officially been spring for some time now, the threat of frost up until last week kind of detracted from any sense of rebirth or new life. But this week’s forecast is full of double digit predictions. I feel we are finally catching up with the calendar. It’s time to bust out the short pants and sandals; pump up the tires on your bicycle; and, as always, enjoy some Vivaldi.
Changing gears a touch here folks, but in a good way. We are adding the Disposable Heroes of Hiphoprisy to our list of artists we love forever here on DWR. So, move over Bach, shuffle over Beethoven and make some room for DHoH :) So turn up the bass and the brain and groove it out people. :)
Variatio 27. Canone alla Nona. a 2 Clav.
Variation 27 is the last canon of the piece, at the ninth and in 6/8 time. This is the only canon where two manuals are specified (not due to hand-crossing difficulties), and the only pure canon of the work, because it does not have a bass line.
Variatio 28. a 2 Clav.
This variation is a two-part toccata in 3/4 time that employs a great deal of hand crossing. Trills are written out using 32nd notes and are present in most of the bars. The piece begins with a pattern in which each hand successively picks out a melodic line while also playing trills. Following this is a section with both hands playing in contrary motion in a melodic contour marked by 16th notes (bars 9-12). The end of the first section features trills again, in both hands now and mirroring one another:
The last 4 bars of the first section of Variation 28.
The second section starts and closes with the contrary motion idea seen in bars 9-12. Most of the closing bars feature trills in one or both hands.
Music with a subtle message.
Pushing the envelope back when doing so was not such a fashionable undertaking. Hurrah for Tom Lehrer!
Another something that is about a million years away from my playing ability. Woo hoo!
For many classical music lovers, Beethoven’s eighth violin sonata lives in the long, fiery shadow of the ninth, better known as the “Kreutzer”. This is easy to understand, as the Kreutzer is a prime example of the stormy side of Beethoven—the one many listeners see as his most exciting and revealing trait. However, just as his eighth symphony is the kinder, gentler companion to his towering, formidable ninth, the eighth violin sonata, shorter and less aggressive than the ninth, shows a more lyrical side of Beethoven.
bleatmop
Mystro
The Arbourist
Dead Wild Roses 
Your opinions…