Johann Sebastian Bach (1685-1750)
Matthäus-Passion / BWV 244
Koor en orkest Collegium Vocale Gent
Philipp Herreweghe, dirigent.
uitgevoerd in de Kölner Philharmonie

Orlando Gibbons: Hosanna to the Son of David
Chanticleer

Thomas Weelkes: Hosanna to the Son of David
Sidney Sussex College; David Skinner, Conductor

08. April 2017 · 2 comments · Categories: Huh?

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The 2017 instrument of the year is the oboe. Most people think of it as a classical instrument – but it’s also brightened up a lot of pop songs. We present the ten best tracks that feature an oboe.

So many problems with this video, in my little opinion, but … um … the photo at the start of the video? I shouldn’t be surprised by other issues when this is what I see! (This is just a photo below … you have to click on the link to watch the video, as I didn’t see a way to embed it.)

p.dw.com/p/2atvn

Because beauty.

Barber: Knoxville, Summer of 1915
Kaleidoscope Chamber Orchestra; Maria Valdes, Soprano

Listen to it all, of course, but OH, starting at 10:18 (www.youtube.com/watch?v=PQzaFJZ8CuE&feature=youtu.be&t=10m18s) … and then … “One is my mother who is good to me. One is my father who is good to me.” That section always hits my heart. Hard. I guess it just makes me miss my mother and father a lot.

text

Yes, there is a composer named Bi(e)ber. Maybe even more than one. BUT … this is a Justin Bieber song.

Now, I have to confess I’ve never heard Justin Bieber.

That’s right: NEVER.

My kids are old enough they didn’t get into him. Should I be grateful? I honestly don’t know. Maybe he does a great job with what he does!

But in any case … I know he has a song called “Baby” and after I post this I’ll see if I can find the original to compare. This is a group called Cadence.

Lucas Marchand (Tenor)
Ross Lynde (Tenor)
Carl Berger (Baritone)
Kurt Sampson (Bass)

Okay … compare and contrast. Or don’t. You choose!

Adreas Hammerschmidt: Schaffe in mir Gott
Ensemble Thios Omilos: Tenor: Patrick Grahl, Cornelius Frommelt; Baritone: Tobias Ay; Bass: Philipp Goldmann, Manuel Helmeke; Organ: Bernadett Mészáros; Violone: Yannick Sartorelli

Andreas Hammerschmidt: Das Wort ward Fleisch
Ensemble Thios Omilos: Tenor: Patrick Grahl, Cornelius Frommelt; Baritone: Tobias Ay; Bass: Philipp Goldmann, Manuel Helmeke; Organ: Bernadett Mészáros; Violone: Yannick Sartorelli

John 1:14 The Word became flesh and made his dwelling among us. We have seen his glory, the glory of the one and only Son, who came from the Father, full of grace and truth.

When our daughter Kelsey was in high school she was really into the group “Harry and the Potters”. No, they never became a huge popular group, but they are fun and this is rather appropriate for our upcoming movie, Harry Potter and the Chamber of Secrets.

Michael Sheppard, Pianist

(You just might hear another movie in there too.)

From the YouTube Page:

I began writing my Harry Potter fantasy back in 2004 or maybe even 2003. It isn’t because of writer’s block that it took so long to finish; it’s just that I would put it on the back burner for weeks, months, and at one point even years at a time to focus on being a pianist! But whenever I would bring it out again, it would immediately transport me back into the magical world of Hogwarts and all of those friends’ adventures.

This, I think, is largely due to John Williams’s irresistible main theme that is woven throughout the scores to all the movies, even the later sequels whose scores he didn’t write himself. It’s called “Hedwig’s Theme” (named for the owl that is Harry’s constant companion throughout), and is, for my money, one of JW’s more successful tunes in a career of hugely successful tunes. This theme is the basis for my fantasy.

It started out as almost — and I say “almost” very pointedly, because there are also a few fun quotes from other, not unrelated, music — a theme and variations, but then, at a certain point, I discovered that it wanted to go somewhere else; after a few variations, it seems to come to a kind of resting-place, where it wonders about the main material for a few measures, and then takes off in a flurry of other themes, some of which have been hinted at before. It builds to a huge climax using the “Family Portrait” material, which then abates a little and then builds up again into, yes: a fugue. (I had to.) The fugue uses all of the Harry-Potter-related material we’ve heard so far. Then this builds to an even bigger climax , where a surprise (and, again, not unrelated) theme gets aired for a few measures, but then it keeps going until it seems as if the very fabric of the universe gets ripped in half. Out of that mist creeps Hedwig’s Theme in a haze of disorientation; after considering all that has come before, it comes down and touches ground again. Where it touches down is, of course, anyone’s guess!

I hope you have as much fun listening to my “Fantasy on Themes from Harry Potter” as I’ve had writing it. And, though it took nearly seven years to write, it only takes about eleven minutes to hear. Life is funny that way.