For far too much to put it all up here!
Ich Habe Genug:
Cello Suite No. 6: Allemande
Cantata BWV 131- Aus der Tiefen (I):
Cantata BWV 131- Aus der Tiefen (II):
Cantata BWV 131- Aus der Tiefen (III):
… and thanks!
For the Symphony No. 6 (“Pastoral”), Mr. Fischer radically broke with conventional orchestral seating. The principal flutist, oboist and clarinetist were placed front and center, with other winds mingled throughout the ensemble: a second flutist back near the basses, a second oboist between the violas and second violins, a piccolo player with the trombones on a rear platform.
[and later …]
The layout for the Ninth Symphony was even more peculiar. The woodwinds migrated to a standard grouping near the back, replaced in the front row by Roland Denes, the timpanist, who admittedly played an especially prominent role. Only at one point near the end of the first movement did his animated rumble obscure details elsewhere in the ensemble.
I read it here.
Thoughts?
Manhattan Transfer and Symphony Silicon Valley on June 12?
I read it here, googled it, and found a lot more of the same info elsewhere.
I’m helping Brandon with his move to New York City, so today is going to be a busy one (he leaves very early tomorrow morning). I’ll just leave you with a bit of music instead. How ’bout some Bach:
… back later!
While Pärt might look holy and reserved, he’s actually full of mischievous humour. He talked of a crazy “happening” in the Sixties when he dressed up as a doctor with a surgical mask over his face to perform some operation on a violin which unintentionally ended up in flames. He became branded as the man who burned violins.
It’s difficult to imagine this very serious composer doing that … but hey, it was the sixties!
The above is from this.
I sure wish I could watch BBC Four, and especially the series on Sacred Music (here’s a link to Gorecki & Pärt, but it’s “not available in your area”, I’m told.
a bad oboe sound can sound like one of the following: a swirling cat, a choking chicken, or a duck being slowly run over.
Nice video!
I posted a video quite some time ago of opera being sung in a market. Now Baltimore Symphony and Washington Opera have done the same thing.
It appears, from what she writes anyway, that perhaps Anne Midgette hadn’t seen the original video. She doesn’t sound very happy about the current one, though, unless I’m not reading her correctly.
I’m watching a video of Bach’s St. Matthew Passion. I can’t say it’s the most in tune performance, or the most musical, but the music is still glorious! They just zeroed in on a flutist and I’m watching as she re-places fingers. (No, I don’t mean “replace” … as in taking off fingers and putting on new ones. That would be … um … kind of painful, yes? That’s why I hyphenate the word.) What I mean by “re-place” is she lifts fingers that are down even though they are supposed to be down for the following note. She then has to put them down again. I discourage my students from doing this, aside from those few times we do it to try and “pop” a low note out. Even then I prefer to have a good reed and a well adjusted oboe; the the notes should be there as long as we believe they will be. Funny how, if we think, “I’m going to miss this note!” we do usually miss it. As I tell my students, our oboes are somewhat psychic! 😉
I believe “the less finger movement the better. But now I’m curious … is this re-placement technique common among my readers? Or is it common amoung my reeders? Or something! 😉
