BowsAndArrows
Major Contributor
Reading some Dostoyevsky while listening to some Tchaikovsky!
What are you listening to?
- Thread starter d6jg
- Start date
Reading some Dostoyevsky while listening to some Tchaikovsky!
Brantome
Moderator
Sure you will like that too. Bald Mountain in the original version with vocals was new for me. Great stuff!
There are popular records which runs into saturation for many. This resits.
#59
1969 (P) King Crimson
A prog rock monument! Over the years, likely because Robert Fripp has been the only constant member of the band, it is often told that right from the beginning he was the beating heart of King Crimson.
#59
1969 (P) King Crimson
A prog rock monument! Over the years, likely because Robert Fripp has been the only constant member of the band, it is often told that right from the beginning he was the beating heart of King Crimson.
Funny list, but definitely incomplete, since not a single song from Lionheart is included.
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Hatebreed and hardcore punk are not altersgerecht, at least for me ;-) so hopefully you will pardon me. I know people from NRW are tolerant.Funny list, but definitely incomplete, since not a so gle.sing from Lionheart is included.
Ahh....the Kate list was meant. Sorry, quite late. Thought you meant the band. And I copied it only. Lionheart will follow later ;-)
Brantome
Moderator
I nearly posted Fingal’s Cave earlier today, so please continue
Few weeks ago I found some sketches for a series of lectures I once did. Sketches only! The complete scripts are gone with the wind. Knowing also that my English is often not good enough in this special field. Will have a try here and please: Tell me honestly if you are interested enough or if it is the wrong place. May be also that for many of you this are already old hats. Will start with an opus magnum as test rocket ;-)
Ludwig van Beethoven
Symphony d-minor No. 9
For orchestra, choir and soloists op. 125
For exceptional events. If we poor citizens of the earth want to celebrate festively, often sounds Beethoven's Ninth. Starting as an instrumental piece. But in the final movement the composer expands the form. Music becomes a worldview. After the main themes of the previous movements have been reviewed again, a baritone interrupts with "Oh Freunde, nicht diese Töne! (Oh friends, not these sounds!)"
Suddenly festive choral rung out. Beethoven composed some stanzas from Schiller's "Ode to Joy" in this variation finale. "Freude schöner Götterfunken!" In a huge cantata for soloists, choir and orchestra the old, lonely and deaf Beethoven raves: ""Seid umschlungen, Millionen. Diesen Kuss der ganzen Welt (Be entangled, millions. This kiss of the whole world!"
My choices:
The still most powerful and profound interpretation of the 9 comes from Wilhelm Furtwängler. It is the recording of a concert with the Berlin Philharmonic from 1942. Monstrous how after the absurdly captivating execution of the head movement, the main theme appears in major again - but is literally smashed by the timpanis. (Who wants to check what I mean: First movement after 9:32). Such life and death music was probably only created during the war, where perhaps every concert could be the last. From the recording quality already significantly better is Furtwänglers Bayreuther 9 from the opening concert of 1951.
Leonard Bernstein may not had so much sense for the "mystical" in Beethoven's 9 as Furtwängler, but as an ingenious, creative and re-creative artist he was so deep in Beethoven's music that he knew how to make the bitter, tragic process absolutely meaningful and, for example, realised the unique vitality of Scherzo with unprecedented elan. And the Vienna Philharmonic were perhaps really his favourite orchestra ;-)
With Nikolaus Harnoncourt and the young Chamber Orchestra of Europe, we discover a modern Beethoven. That doesn't mean boring and factual. Furtwängler's "Titanism" or Bernstein's world-hugging emphasis is replaced here by fanatical precision. Many things are believed to be heard for the first time, so passionately Harnoncourt avoids sloppy traditionalisms, so precisely phrasing he analyses the score and inspires his singing soloists.
Ludwig van Beethoven
Symphony d-minor No. 9
For orchestra, choir and soloists op. 125
For exceptional events. If we poor citizens of the earth want to celebrate festively, often sounds Beethoven's Ninth. Starting as an instrumental piece. But in the final movement the composer expands the form. Music becomes a worldview. After the main themes of the previous movements have been reviewed again, a baritone interrupts with "Oh Freunde, nicht diese Töne! (Oh friends, not these sounds!)"
Suddenly festive choral rung out. Beethoven composed some stanzas from Schiller's "Ode to Joy" in this variation finale. "Freude schöner Götterfunken!" In a huge cantata for soloists, choir and orchestra the old, lonely and deaf Beethoven raves: ""Seid umschlungen, Millionen. Diesen Kuss der ganzen Welt (Be entangled, millions. This kiss of the whole world!"
My choices:
The still most powerful and profound interpretation of the 9 comes from Wilhelm Furtwängler. It is the recording of a concert with the Berlin Philharmonic from 1942. Monstrous how after the absurdly captivating execution of the head movement, the main theme appears in major again - but is literally smashed by the timpanis. (Who wants to check what I mean: First movement after 9:32). Such life and death music was probably only created during the war, where perhaps every concert could be the last. From the recording quality already significantly better is Furtwänglers Bayreuther 9 from the opening concert of 1951.
Leonard Bernstein may not had so much sense for the "mystical" in Beethoven's 9 as Furtwängler, but as an ingenious, creative and re-creative artist he was so deep in Beethoven's music that he knew how to make the bitter, tragic process absolutely meaningful and, for example, realised the unique vitality of Scherzo with unprecedented elan. And the Vienna Philharmonic were perhaps really his favourite orchestra ;-)
With Nikolaus Harnoncourt and the young Chamber Orchestra of Europe, we discover a modern Beethoven. That doesn't mean boring and factual. Furtwängler's "Titanism" or Bernstein's world-hugging emphasis is replaced here by fanatical precision. Many things are believed to be heard for the first time, so passionately Harnoncourt avoids sloppy traditionalisms, so precisely phrasing he analyses the score and inspires his singing soloists.
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