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

YA cannot die ⟶ ¿ (>‿◠)

2021-05-26 08:11:29

Tatiana Nikolayeva playing Bach's Keyboard Concerti 1-5 and 7, and 6 Concerti for two, three and four pianos with Mikhail Petukhov, Marina Yevseyeva and Sergei Senkov. Saulius Sondeckis conducts the Lithuanian Chamber Orchestra, live in Moscow on 11, 13 and 14 December 1975. LP rips. Timing and pieces below:

Concerto No. 1 in D minor, BWV 1052
1 - 00:00
2 - 07:35
3 - 14:46
Concerto No. 2 in E major, BWV 1053
1 - 22:40
2 - 30:42
3 - 37:01
Concerto No. 3 in D major, BWV 1054
1 - 43:19
2 - 51:12
3 - 58:18
Concerto No. 4 in A major, BWV 1055
1 - 01:01:39
2 - 01:05:58
3 - 01:11:21
Concerto No. 5 in F minor, BWV 1056
1 - 01:15:36
2 - 01:18:53
3 - 01:21:54
Concerto No. 7 in G minor, BWV 1058
1 - 01:25:26
2 - 01:29:28
3 - 01:36:20
Concerto in C minor for two pianos, BWV 1060, with Mikhail Petukhov
1 - 01:40:22
2 - 01:45:00
3 - 01:50:15
Concerto in C major for two pianos, BWV 1061, with Mikhail Petukhov
1 - 01:53:42
2 - 02:00:09
3 - 02:05:05
Concerto in C minor for two pianos, BWV 1062, with Mikhail Petukhov
1 - 02:10:27
2 - 02:13:57
3 - 02:20:12
Concerto in D minor for three pianos, BWV 1063, with Mikhail Petukhov and Marina Yevseyeva
1 - 02:24:30
2 - 02:29:33
3 - 02:35:00
Concerto in C major for three pianos, BWV 1064, with Mikhail Petukhov and Sergei Senkov
1 - 02:39:50
2 - 02:45:37
3 - 02:51:51
Concerto in A minor for four pianos, BWV 1065, with Mikhail Petukhov, Marina Yevseyeva and Sergei Senkov
1 - 02:56:18
2 - 03:00:08
3 - 03:03:11

Татьяна Николаева - Марина Евсеева - Сергей Сенков - Бах - Клавирные концерты - Саулюс Сондецкис

#TatianaNikolayeva #JohannSebastianBach #classical #music

YA cannot die ⟶ ¿ (>‿◠)

2021-05-24 15:37:31

1987 / 1991 Moldavia Philharmonic Orchestra / All Rights Reserved
1985 / 1998 ITC Philharmonic Orchestra / All Rights Reserved
1991 Giuseppe Verdi Orchestra / All Rights Reserved
1988 Lucia Marina Dell'Orso / All Rights Reserved
1984 / 1994 EKlectic Music / All Rights Reserved
2001 Pitagora Music / All Rights Reserved
2012 3ut3rp3 Music Ltd / All Rights Reserved
2001 The Mozart Symphony Orchestra / All Rights Reserved

Pachelbel was a German composer, organist and teacher who brought the south German organ tradition to its peak. He composed a large body of sacred and secular music, and his contributions to the development of the chorale prelude and fugue have earned him a place among the most important composers of the middle Baroque era.

Pachelbel's music enjoyed enormous popularity during his lifetime; he had many pupils and his music became a model for the composers of south and central Germany. Today, Pachelbel is best known for the Canon in D, as well as the Chaconne in F minor, the Toccata in E minor for organ, and the Hexachordum Apollinis, a set of keyboard variations.

Pachelbel's music was influenced by southern German composers, such as Johann Jakob Froberger and Johann Kaspar Kerll, Italians such as Girolamo Frescobaldi and Alessandro Poglietti, French composers, and the composers of the Nuremberg tradition. He preferred a lucid, uncomplicated contrapuntal style that emphasized melodic and harmonic clarity. His music is less virtuosic and less adventurous harmonically than that of Dieterich Buxtehude, although, like Buxtehude, Pachelbel experimented with different ensembles and instrumental combinations in his chamber music and, most importantly, his vocal music, much of which features exceptionally rich instrumentation. Pachelbel explored many variation forms and associated techniques, which manifest themselves in various diverse pieces, from sacred concertos to harpsichord suites

#JohannPachelbel (baptized September 1, 1653, Nürnberg [Germany]—died March 3, 1706, Nürnberg) #classical #music

YA cannot die ⟶ ¿ (>‿◠)

2021-05-25 10:51:53

Artists: Soloists of the Accademia di Santa Cecilia Rome, Akanè Makita (piano), Andrea Oliva (flute), Francesco Bossone (bassoon), Stefano Novelli (clarinet), Francesco Di Rosa (oboe), Alessio Allegrini (horn)

The wind instrumentalists here are members of Rome’s main orchestra, attached to the Accademia nazionale di Santa Cecilia, and their previous disc on Brilliant Classics with Akanè Makita, of chamber music by Henri Dutilleux (BC94738) won recognition both for the original combination of repertoire and the stylish performances: ‘Francesco Bossone and Akanè Makita do the work proud, playing with real character and in excellent balance with each other’ (Musicweb International).

Here they turn to the instant charms of the chamber music by Camille Saint-Saëns, centred around the three sonatas for oboe, clarinet and bassoon. All written within the year 1921, they are the work of a composer who was born 10 years after the death of Beethoven and whose lifetime overlapped with the dawn of jazz in Europe. Little wonder, then, that such pieces embody a remarkable synthesis of styles, to the extent that they hardly seem to be by the same composer as the highly embellished chamber music for strings or the grand statements of the symphonies. They do, however, retain a sense of dramatic dialogue that runs through the composer’s output, for Saint-Saëns was always a theatrical composer even when not writing for the stage. The constant stream of melodies speak of a master of refined simplicity and unfailingly elegant lightness of spirit.

The two Romances for horn and piano date from much earlier in the composer’s prolific career (1874 and 1885); they proceed not in the compressed version of sonata-form belonging to the later works, but in narrative sections which range from sweetly nostalgic to the turbulent or heroic. Rounding off this irresistible collection is the Op.79 Caprice on Russian and Danish Airs for flute, oboe, clarinet and piano: here is the cheerful Saint-Saëns of the Carnival of the Animals, running through folk tunes and their transformations with balletic grace and fluidity, underpinned by a brilliant, impetuous piano part that shows what a virtuoso this multi-talented composer was in his own right.

00:00:00 Bassoon Sonata in G Major, Op. 168: I. Allegretto moderato
00:02:52 Bassoon Sonata in G Major, Op. 168: II. Allegro scherzando
00:06:40 Bassoon Sonata in G Major, Op. 168: III. Molto adagio - Allegro moderato
00:12:42 Romance, Op. 67: Adagio
00:22:11 Oboe Sonata in D Major, Op. 166: I. Andantino
00:25:26 Oboe Sonata in D Major, Op. 166: II. Allegretto
00:30:15 Oboe Sonata in D Major, Op. 166: III. Molto allegro
00:32:44 Romance, Op. 37: I. Moderato assai
00:39:24 Clarinet Sonata in E-Flat Major, Op. 167: I. Allegretto
00:44:18 Clarinet Sonata in E-Flat Major, Op. 167: II. Allegro animato
00:46:16 Clarinet Sonata in E-Flat Major, Op. 167: III. Lento
00:50:30 Clarinet Sonata in E-Flat Major, Op. 167: IV. Molto allegro – Allegretto
00:55:56 Caprice sur des airs danois et Russes, Op. 79: I. Poco allegro

#CamilleSaint-Saëns #classical #music

🐾 Team Sintti 🐾

2020-04-27 13:33:36

SUOMALAISILLE SOTAVETERAANEILLE -

Kaikille niille, jotka jäivät sotatantereelle, ovat jo poistuneet muuten keskuudestamme ja niille jotka vielä joukossamme elävät;
Teidän suurten uhrauksienne ansiosta me elämme nyt maassa, joka on vauras, vapaa ja itsenäinen ja siten kykenevä kohtaamaan tänä päivänä aivan uudenlaisen miehittäjän.
Osoittamalla samaa päättäväisyyttä, yhtenäisyyttä ja sisua kuin te aikananne, me tulemme lopulta kukistamaan tämänkin vihollisen - ja se on paljolti teidän ansiotanne.

KIITOS ❕

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TO THE FINNISH VETERANS OF WAR -

To all those lost in the battleground, those who have already left us because of old age and poor health and those who still are among us;
It is because of your heavy sacrifice we now live in a country that is prospering, independent and free, allowing us to face a very different kind of an invader today.
Showing the same perseverance, commitment, unity and sisu we will eventually conquer this new enemy, too - because you laid the groundwork for us.

THANK YOU ❕

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On this very day 75 years ago all acts of war on the Finnish soil were brought to a halt and the time of peace began. In our country, today is the National Veteran´s Day in honour of our wartime heroes.
Due to the current situation with #covid-19 all the festivities and gatherings for the occasion are cancelled.
For our tune for today, I´m happy to post a very special performance - commissioned by the Finnish Government for today - of the Finlandia Hymn by Jean Sibelius. The choral arrangement is by the composer himself and it is conducted here by director cantus Arto Joutsimäki.
A thousand singers from all across the country (plus seventy-five for the occasion) of Virtuaalikuoro ("The Virtual Choir") recorded their parts in home isolation.

Greetings from Finland from all of us at the Team Sintti HQ -
Stay strong, take care, stay safe and look after yourselves and your loved ones ❕

#TeamSintti #TuneForToday #musiikki #music #klassinen #classical #choral #choir #Virtuaalikuoro #Sibelius #Finlandia #hymn #Suomi #Finland #sotaveteraanit #warveterans #kiitos #thankyou #FinlandArise #together #takecare #staysafe #staystrong ▶