Ivy Blackledge Whitfield

2021-06-07 22:09:45

#music #birds
June 7, 2021
Some of my bird whistles sound like “I see you. I see you.” “Sweeeet heart!. Sweeeet heart!.”
I have been whistling some little part of a waltz for the wild birds… " La la~…tweet, tweet, tweet, tweet."
They responded with their own little “tweet, tweet.” (Only male finches sing. The female chirps along.)
Then I played that little bit of the same waltz on my harmonica for them. Well, a flurry of a bird concert started up for a block. Hahahaa!. So sweet. So wonderful! They pass their music along to each other.
I played the real thing for them and they love it very much. I have imagined a wild Finch in New York City singing this Strauss waltz that was passed along from downtown Salt Lake City. However, being mindful of Unintentional Consequences, I wouldn't want to disrupt their natural mating songs. .
Miss Finch to Mr. Finch: "I love you darling, and I want to mate with you, but I don't understand a tweet you're singing."

J. Strauss II: An der schönen blauen Donau, Op.314
**

YA cannot die ⟶ ¿ (>‿◠)

2021-05-22 10:11:09

Composer: Ludwig Schuncke
Artists: Tatiana Larionova

Born the same year as Robert Schumann, 1810, Ludwig Schuncke died at the tender age of 24 from tuberculosis. Thus was cruelly abbreviated the life of a pianist and composer who, had he lived on, might well have attained more of the fame accorded to Schumann himself. The two men met at a Leipzig drinking establishment in December 1833 and quickly became firm friends. Up to that point Schunke had pursued the career of a prodigal musician, including studies in Paris with Anton Reicha, even a brief meeting with Chopin.

The influence of Chopin can be heard in the reflective introduction to Schunke’s Grand Sonata, which is the largest piece in this valuable collection of his piano music, which will captivate anyone with an ear or interest for the stirrings of the 19th-century Romantic tradition of piano music. Schuncke dedicated the Sonata to Schumann, who returned the compliment with his Toccata Op.7: some indication of the mutual respect between the two men but also Schuncke’s capability as a performer. The Sonata’s brief but stormy Scherzo leaps through torrents of passagework, and the following Andante owes more to the songful German tradition than Chopin’s brand of melancholy.

#LudwigSchunke #TatianaLarionova #classical #piano #music

YA cannot die ⟶ ¿ (>‿◠)

2021-05-22 13:27:50

00:00:00 Symphonie in A Minor: I. Allegro
00:05:25 Symphonie in A Minor: II. Andante
00:09:57 Symphonie in A Minor: III. Allegro molto
00:16:35 Symphonie in F Major: I. Allegro
00:21:23 Symphonie in F Major: II. Andante cantabile
00:27:12 Symphonie in F Major: III. Menuetto
00:31:07 Symphonie in F Major: IV. Presto
00:34:33 Symphonie in G Minor: I. Allegro moderato
00:39:00 Symphonie in G Minor: II. Andante cantabile
00:45:12 Symphonie in G Minor: III. Menuetto
00:48:28 Symphonie in G Minor: IV. Finale: Allegro
00:52:13 Symphonie in A Major: I. Allegro moderato
01:00:00 Symphonie in A Major: II. Cantabile
01:05:04 Symphonie in A Major: III. Finale: Prestissimo

Tamás Pál, Salieri Chamber Orchestra
All Rights Reserved
P+C Nar International Srl

Johann Baptist Wanhal was a Czech classical music composer. He was born in Nechanice, Bohemia, and died in Vienna. His music was well respected by Mozart, Haydn and Beethoven. He was an instrumental performer as well. While being a prolific Organist, he also played the Violin and Cello.

#JohannBaptistWanhal #classical #music

YA cannot die ⟶ ¿ (>‿◠)

2021-05-25 16:34:15

Keyboard Concerto No.2 in E MAjor, BWV 1053
I.Allegro (00:00) II.Siciliano (08:04) III.Allegro (12:41)

Keyboard Concerto No.3 in D Major, BWV 1054
I.Allegro (19:01) II.Adagio e piano sempre (26:51)
III.Allegro (32:43)

Keyboard Concerto No.4 in A Major, BWV 1055
I.Allegro (35:33) II.Larghetto (39:41)
III.Allegro ma non tanto (45:23)

Keyboard Concerto No.5 in F minor, BWV 1056
I.Allegro (49:33) II.Largo (53:10) III.Presto (56:07

Keyboard Concerto No.7 in G minor, BWV 1058
I.Allegro (59:57) II.Andante (1:03:47)
III.Allegro assai (1:09:46)
Columbia Symphony Orchestra
Direction : Vladimir Golschmann
Recorded in 1958,67,69, at NewYork

Keyboard Concerto No.1 in D minor, BWV 1052
I.Allegro (1:13:41) II.Adagio (1:22:28)
III.Allegro (1:29:50)
Academic Symphony Orchestra of Leningrad
Direction : Vladislav Slovak
Live recording in 1957, at Leningrad

#JohannSebastianBach #classical #music

YA cannot die ⟶ ¿ (>‿◠)

2021-05-26 14:40:20

The second instalment of the Complete Keyboard Sonatas contains the sonatas Op. 8, 10, 13 and 15.
Leopold Kozeluch (1747-1818) was born in Bohemia but spent his professional life in Vienna, where he became a famous musician and composer, for a time even eclipsing Mozart’s fame!
The sonatas in this second volume have 3 or 4 movements, of the same scope as Haydn’s sonatas. They are written in the Galante Style, with easy flowing melodies, featuring a highly developed keyboard virtuosity in the abundance of scales, arpeggios, runs in thirds and sixths, repeated notes and tremolos.
Jenny Soonjin Kim plays a fortepiano (Kozeluch preferred fortepianos to harpsichords). The first volume of the complete Kozeluch Sonatas (BC 94770) was praised by the press for its spontaneity, keen sense of the style and effortless and brilliant technique.

Composer: Leopold Kozeluch
Artist: Jenny Soonjin Kim (fortepiano)

Following the successful release of the first volume (BC94770) in 2015, Jenny Soonjin Kim continues her cycle of sonatas by Leopold Kozeluch, Czech contemporary of C.P.E. Bach and then Mozart. The sonatas (he wrote 49 in total) share qualities with the work of his teacher Dussek, and Burney’s contemporary assessment of Kozeluch’s music stands true today: easier on the ear than CPE, ‘Haydn or Mozart; it is natural, graceful and flowing, without imitating any great model, as almost all his contemporaries have done. His modulation is natural and pleasing… His rhythm is well phrased, his accents well placed, and harmony pure.’

Volume 2 contains the complete Opp. 8, 10 and 13 sets, ending with Op.15 No.1. All these sets were published by 1785. Seven years earlier Kozeluch had moved to Vienna, and made such a name for himself as a performer, teacher and composer that he could afford to decline an offer made in 1781 to succeed Mozart as court organist to the Archbishop of Salzburg. He composed music in all the major genres of the day but his sonatas rejoice in a particular enthusiasm for expanding the potential of the keyboard instrument as it evolved radically during his lifetime, from harpsichord through fortepiano towards pianoforte, gaining ever more volume, projection and sustaining lyrical qualities in the process.

#LeopoldKozeluch #classical #piano #music #JennySoonjinKim