98 plays
Mozart
Quintet in A major for clarinet and strings, K. 581
IV. Allegretto con variazioni
Benny Goodman
Boston String Quartet
Tanglewood
It is not when the truth is dirty, but when it is shallow, that the lover of knowledge is reluctant to step into its waters.
Henri Dutilleux
Sonatine for flute and piano (1943)
William Kincaid, flute
Vladimir Sokoloff, piano
Sad to hear of the passing today of Henri Dutilleux (b. 1916), one of the XX century’s most distinguished and expressive voices.
157 plays
Wagner
Tristan und Isolde
Vorspiel
Berliner Philharmoniker
Claudio Abbado
131 plays
Wagner
Piano Sonata in A-flat major, WWV 85
Pierre-Laurent Aimard
This terse, simple, but warm and unassuming sonata for the piano dates from 1853 and is one of a number of small compositions Wagner created for Mathilde Wesendonck, a poetess and muse with whom the composer may have been intimate and was certainly infatuated. Wagner more famously set several of her poems to music as the Wesendonck Lieder; she was particularly fond of Tannhäuser, and indeed she had first encountered Wagner at a Dresden concert in which he conducted its overture. Echoes of the Pilgerchor and other fragments from that opera can be detected in the sonata’s thematic materials.
Today, 22 May 2013, marks the 200th anniversary of the birth of German operatist Richard Wagner (1813 - 1883). Wagner was a contentious figure in his own time, and musicians and enthusiasts remain divided even today over his musical and personal legacies.
What is relatively certain is that few composers have had such far-reaching influence on the development of the musical language of our culture, and it is in the operas of Richard Wagner that musical theater as an art form reached its zenith in terms of grandeur, dramatic intensity, and artistic integration.
Somehow the pentatonic melody that is the basis of this piece of music just decided to work as a canon at the unison/octave, displaced by one pulse, over the most face-meltingly chromatic chord progression I could devise with the harmony shifting on each pulse. Pentatonics naturally work well in canon, but to sound awesome over Charlie-Parker-Tears-Apart-Wagner’s-Sarcophagus-With-His-Bare-Hands chords? I don’t know how that works, but *I* didn’t do it, not on purpose anyway. I’ll take it, though...
(Now I just have to orchestrate it so that it doesn’t sound like a giant pile of mush. Easier said than done.)
Scholar discovers missing bassoon line in Ravel manuscript | Cultural Compass
It was missing a certain je ne sais quoi…turns out someone just fagottoboutit.
Chorale- Komm, o Tod, du Schlafes Bruder (Come, Death, Brother of Slumber), from BWV 56-5
Your success as a musician probably hinges on how much you’ve studied the Bach chorales.
112 plays
Am I turning into a post-minimalist? Probably best to go ahead and ax me before I can infect others…
(Excerpt from a winds/percussion piece I’m working on. I replaced the original file with a marginally better one as mockups go.)
Steve Reich
Mallet Quartet
Amadindo Percussion
Portugal, 2010
Magritte | Golconde (1953)
180 plays
Red Garland Trio
“‘S Wonderful”
from The Jazz Giants Play George Gershwin
(Prestige, 1997 comp.)
originally from Manteca (1958)
Red Garland (May 13, 1923 - 1984), hard-bop pianist, known for his block-chord style. Garland became famous in 1955 when he joined the Miles Davis Quintet featuring John Coltrane, Philly Joe Jones and Paul Chambers. After that Garland recorded extensively with his own trio behind changing frontmen, again including ‘Trane…
148 plays
François Couperin (1668-1733) (French)
from the Second Livre De Pieces De Clavecin, 8º Ordre
L’Ausonieneby George Malcom
Versailles by Sean Munson.
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