Separate names with a comma.
Mascagni - Intermezzo from Cavalleria Rusticana - City of Prague Philharmonic
Brahms - Hungarian Dance No. 5 - Abbado / Berlin Philharmonic
Verdi - Theme from La forza del destino - Martynas
Couperin - Les baricades mistérieuses - Sylviane Deferne
Émile Waldteufel - The Skater's Waltz - Alfred Walter, Slovak State Philharmonic Orchestra
Having fun with the melodica.
Amazing the way they're able to make reeds sound like other instruments. I feel like I'm hearing flutes, strings, and brass, but there are none there! Thanks for sharin this Light - Man.
Listening to some Sibelius this morning, specifically his incidental music for Swanwhite (Op. 54), and The Swan of Tuonela from the Lemminkäinen Suite (Op. 22). There are several pretty good recordings of both these works on YouTube.
Swanwhite is frequently broken down into its separate movements:
I. The Peacock
II. The Harp
III. The Maiden(s) with the Roses
IV. Listen! The Robin Sings
V. The Prince Alone
V!. Swanwhite & the Prince
VII. Song of Praise
There are very decent sequential recordings of all the above by several different orchestras. I listened to snippets by the Tapiola, Iceland and Gothenburg symphonies, and they were all pretty ok (though I'm not sure which, if any, is the best). Haven't found much in the way of live performances so far for this piece. Watch the volume levels when switching between the movements btw, because the YouTube ads at the beginning can be quite loud relative to the recordings.
Both works, Swanwhite and The Swan of Tuonela, have alot of atmosphere. The latter reminds me a little of some John Barry (the 007 composer) scores,
^ Yes, I can hear some resemblance with John Barry.
This piece in particular by Ryuichi Sakamoto has hints of the 007 theme.
So I just bought a used copy of this.
Last nights (Friday) concert at the NCH Dublin (as usual the YT video only seems to last 5-6 days - until next Thursday and possibly some of Friday)
RTÉ National Symphony Orchestra
Nikolaj Znaider conductor / violin
Beethoven Violin Concerto, Op.61, D major / 42'
Shostakovich Symphony No.5, Op.47, D minor / 44'
Nikolaj Znaider puts his ‘musical prowess as both a violin soloist and conductor’ (Bachtrack) to the service of two masterpieces bursting with tunes and revelling in music’s facility for painting the most vivid and stirring of pictures and to move the human heart and enthuse the human spirit.
First performed in late December 1806 while the ink was still drying on the manuscript, Beethoven’s only concerto for violin is a work of robust sentiment and exquisitely delicate beauty. Longer than was customary for a concerto, it also calls upon considerably enlarged resources and boasts fiendishly difficult writing for the violin. As the EroicaSymphony had marked a milestone in the fortunes of the symphony two years earlier, so the Violin Concerto re-minted the form of the concerto. So radically, in fact, that many of his contemporaries declared Beethoven had sounded its death knell. Quite the reverse was the case in a work marked by excitable dynamics, a virtuosic violin line and some of the richest orchestrations yet heard – or imagined.
Shostakovich’s Fifth Symphony was greeted with an ecstatic reception at its premiere in 1937, the audience reportedly weeping during its slow movement and affording it an ovation lasting well over half an hour at its conclusion. Under a cloud cast by disapproving Soviet authorities in response to his opera Lady Macbeth of Mtsensk, Shostakovich knew failure for his new symphony was not an option and responded with a work that one reviewer at the time described as ‘a Soviet artist’s practical creative reply to just criticism’. As with all of the composer’s music, it can be heard in two divergent ways: as an alleluia for Soviet ideals and as a biting criticism of the very same. Listen out, too, for the quotation of the Habanera from Bizet’s Carmen in the first movement – an autobiographical note inspired by Shostakovich’s recent rejection by a woman who subsequently moved to Spain and, ironically enough, married a man called Roman Carmen.
Makes you wonder how Shostako's music would have developed if the 4th wasn't rejected..
Scott Joplin - Solace