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TwilightPrincess
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25 Feb 2024, 10:25 am



https://m.youtube.com/watch?v=oJrDU-PTW8I

Tchaikovsky - Piano Trio in A minor op.50

It is subtitled “À la mémoire d’un grand artiste,” in reference to Nikolai Rubinstein, his close friend and mentor, who had died on 23 March 1881.

https://en.m.wikipedia.org/wiki/Piano_Trio_(Tchaikovsky)


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TwilightPrincess
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25 Feb 2024, 11:23 am

It’s going to take me a few listens to understand this piece.



https://m.youtube.com/watch?v=QAQmZvxVf ... p=gAQBiAQB

Messiaen - Quatuor pour la fin du temps

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Premiering in 1941, “Messiaen wrote the piece while a prisoner of war in German captivity and it was first performed by his fellow prisoners.”

“Messiaen wrote in the Preface to the score that the work was inspired by text from the Book of Revelation (Rev 10:1–2, 5–7, King James Version):

And I saw another mighty angel come down from heaven, clothed with a cloud: and a rainbow was upon his head, and his face was as it were the sun, and his feet as pillars of fire ... and he set his right foot upon the sea, and his left foot on the earth .... And the angel which I saw stand upon the sea and upon the earth lifted up his hand to heaven, and sware by him that liveth for ever and ever ... that there should be time no longer: But in the days of the voice of the seventh angel, when he shall begin to sound, the mystery of God should be finished ...”

“The quartet was premiered at the camp on 15 January 1941 in front of about 400 prisoners and guards.”

Image


Quote:
I. "Liturgie de cristal"

In his preface to the score, Messiaen describes the opening of the quartet:

“Between three and four in the morning, the awakening of birds: a solo blackbird or nightingale improvises, surrounded by a shimmer of sound, by a halo of trills lost very high in the trees. Transpose this onto a religious plane and you have the harmonious silence of Heaven.”

Written for the full quartet, the opening movement begins with the solo clarinet imitating a blackbird's song and the violin imitating a nightingale's song. The underlying pulse is provided by the cello and piano: the cello cycles through the same five-note melody (using the pitches C, E, D, F-sharp, and B-flat) and a repeating pattern of 15 durations. The piano part consists of a 17-note rhythmic pattern permuted strictly through 29 chords, as if to give the listener a glimpse of something eternal.

II. "Vocalise, pour l'Ange qui annonce la fin du temps"

Also for the full quartet, Messiaen writes of this movement:

“The first and third parts (very short) evoke the power of this mighty angel, a rainbow upon his head and clothed with a cloud, who sets one foot on the sea and one foot on the earth. In the middle section are the impalpable harmonies of heaven. In the piano, sweet cascades of blue-orange chords, enclosing in their distant chimes the almost plainchant song of the violin and cello.”

III. "Abîme des oiseaux"

Messiaen writes:

“The abyss is Time with its sadness, its weariness. The birds are the opposite to Time; they are our desire for light, for stars, for rainbows, and for jubilant songs.”

A solo for the clarinet, this movement is a test for even the most accomplished clarinetist, with an extremely slow tempo marking quaver (eighth note) = 44. It was originally written in Verdun.

IV. "Intermède"

A trio for violin, cello, and clarinet, Messiaen writes of this movement:

“Scherzo, of a more individual character than the other movements, but linked to them nevertheless by certain melodic recollections.”

V. "Louange à l'Éternité de Jésus"

Messiaen writes:

“Jesus is considered here as the Word. A broad phrase, ‘infinitely slow", on the cello, magnifies with love and reverence the eternity of the Word, powerful and gentle, "whose time never runs out". The melody stretches majestically into a kind of gentle, regal distance. "In the beginning was the Word, and Word was with God, and the Word was God.’ (John 1:1 (King James Version))”

A duet for cello and piano, the music is arranged from an earlier composition, "IV. L'Eau" from "Fête des belles eaux" for 6 Ondes Martenots, performed at the Paris International Exposition of 1937. The tempo marking is infiniment lent, extatique ("infinitely slow, ecstatic").

VI. "Danse de la fureur, pour les sept trompettes"

Messiaen writes of this movement, which is for full quartet:

“Rhythmically, the most characteristic piece of the series. The four instruments in unison imitate gongs and trumpets (the first six trumpets of the Apocalypse followed by various disasters, the trumpet of the seventh angel announcing consummation of the mystery of God) Use of added values, of augmented or diminished rhythms, of non-retrogradable rhythms. Music of stone, formidable granite sound; irresistible movement of steel, huge blocks of purple rage, icy drunkenness. Listen especially to all the terrible fortissimo of the augmentation of the theme and changes of register of its different notes, towards the end of the piece.”

Toward the end of the movement the theme returns, fortissimo, in augmentation and with wide changes of register. It is in unison throughout.

VII. "Fouillis d'arcs-en-ciel, pour l'Ange qui annonce la fin du temps"

Messiaen writes of this quartet movement:

“Recurring here are certain passages from the second movement. The angel appears in full force, especially the rainbow that covers him (the rainbow, symbol of peace, wisdom, and all luminescent and sonorous vibration). – In my dreams, I hear and see ordered chords and melodies, known colors and shapes; then, after this transitional stage, I pass through the unreal and suffer, with ecstasy, a tournament; a roundabout co-penetration of superhuman sounds and colors. These swords of fire, this blue-orange lava, these sudden stars: there is the tangle, there are the rainbows!”

VIII. "Louange à l'Immortalité de Jésus"

Messiaen writes:

“Large violin solo, counterpart to the violoncello solo of the 5th movement. Why this second eulogy? It is especially aimed at the second aspect of Jesus, Jesus the Man, the Word made flesh, immortally risen for our communication of his life. It is all love. Its slow ascent to the acutely extreme is the ascent of man to his god, the child of God to his Father, the being made divine towards Paradise.”

A duet for violin and piano, the music is an arrangement of the second part of his earlier organ piece "Diptyque" (1930), transposed up a major third from C to E.


https://en.m.wikipedia.org/wiki/Quatuor ... n_du_temps


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TwilightPrincess
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25 Feb 2024, 1:09 pm



https://www.youtube.com/watch?v=3lq7QWI6TkU&t=29s

Tchaikovsky - “Souvenir de Florence”


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25 Feb 2024, 7:18 pm



https://youtu.be/2BKa5NVSuMk?si=-T7VR3fSvnLH_VGo

Mendelssohn - Variations Concertantes


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26 Feb 2024, 9:15 am



https://youtu.be/pnntZbaN_vk?si=b1cQ2MYC2nPxueVK

Bernard Herrmann - Vertigo: Prelude/The Nightmare, Scene d'Amour

It’s music from Hitchcock’s Vertigo. I’ve always loved the music from this film. It’s a favorite overall.

The same composer also did music for some of Hitchcock’s other films, including Psycho.



https://www.youtube.com/watch?v=-5_pmtj7dvc

Bernard Herrmann conducting the London Symphony Orchestra (1960) - Psycho Suite

Very interesting stuff about the iconic music in Psycho:

Quote:
Hitchcock insisted that Bernard Herrmann write the score for Psycho despite the composer's refusal to accept a reduced fee for the film's lower budget. The resulting score, according to Christopher Palmer in The Composer in Hollywood (1990) is "perhaps Herrmann's most spectacular Hitchcock achievement". Hitchcock was pleased with the tension and drama the score added to the film, later remarking "33% of the effect of Psycho was due to the music" and that "Psycho depended heavily on Herrmann's music for its tension and sense of pervading doom".

Herrmann used the lowered music budget to his advantage by writing for a string orchestra rather than a full symphonic ensemble, contrary to Hitchcock's request for a jazz score. He thought of the single tone color of the all-string soundtrack as a way of reflecting the black-and-white cinematography of the film. The strings play con sordini (muted) for all the music other than the shower scene, creating a darker and more intense effect. Film composer Fred Steiner, in an analysis of the score to Psycho, points out that string instruments gave Herrmann access to a wider range in tone, dynamics, and instrumental special effects than any other single instrumental group would have.

The main title music, a tense, hurtling piece, sets the tone of impending violence, and returns three times on the soundtrack. Though nothing shocking occurs during the first 15–20 minutes of the film, the title music remains in the audience's mind, lending tension to these early scenes. Herrmann also maintains tension through the slower moments in the film through the use of ostinato.

There were rumors that Herrmann had used electronic means, including amplified bird screeches to achieve the shocking effect of the music in the shower scene. The effect was achieved, however, only with violins in a "screeching, stabbing sound-motion of extraordinary viciousness". The only electronic amplification employed was in the placing of the microphones close to the instruments, to get a harsher sound. Besides the emotional impact, the shower scene cue ties the soundtrack to birds. The association of the shower scene music with birds also telegraphs to the audience that it is Norman, the stuffed-bird collector, who is the murderer rather than his mother.

Herrmann biographer Steven C. Smith writes that the music for the shower scene is "probably the most famous (and most imitated) cue in film music", but Hitchcock was originally opposed to having music in this scene. When Herrmann played the shower scene cue for Hitchcock, the director approved its use in the film. Herrmann reminded Hitchcock of his instructions not to score this scene, to which Hitchcock replied: "Improper suggestion, my boy, improper suggestion". This was one of two important disagreements Hitchcock had with Herrmann, in which Herrmann ignored Hitchcock's instructions. The second one, over the score for Torn Curtain (1966), resulted in the end of their professional collaboration. A survey conducted by PRS for Music, in 2009, showed that the British public consider the score from 'the shower scene' to be the scariest theme from any film.

I can’t imagine what the film would’ve been like with a jazz score.


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TwilightPrincess
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26 Feb 2024, 10:13 am



https://www.youtube.com/watch?v=TECb7NUKg3Q

Chopin - Cello Sonata


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26 Feb 2024, 10:46 am



https://www.youtube.com/watch?v=FpK1tjbeeA0

Mozart - Piano Quartet No. 1


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26 Feb 2024, 11:14 am



https://www.youtube.com/watch?v=E8c83bpOVXo&t=40s

Mozart - “Divertimento”


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26 Feb 2024, 11:17 am

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26 Feb 2024, 1:47 pm



https://www.youtube.com/watch?v=ksrrsnlHakg

Mendelssohn - Cello Sonata No. 1


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26 Feb 2024, 6:21 pm



https://youtu.be/zEDMnwR0g5A?si=_hccKg12Rdbyfrhg

Wolfgang Rihm - Concerto en Sol für Sol Gabetta


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26 Feb 2024, 8:01 pm



https://youtu.be/A12T7kra0Eo?si=UNDlWB9gzt_PwZPD

Debussy - La Mer

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26 Feb 2024, 11:07 pm



https://youtu.be/kiW-QnQzN9Y?si=mgopHxvEAWJEyIqV

Beethoven - Piano Concerto No. 5 “Emperor”


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27 Feb 2024, 12:41 am



https://youtu.be/Sl9hFJrw4tw?si=GpkMw1IKwNufC-EE

Robert Kahn - Trio / Serenade for Oboe, Horn and Piano in f Minor, op. 73


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27 Feb 2024, 1:46 pm



https://m.youtube.com/watch?v=BS0SwRoYA ... cnRvIDM%3D

Prokofiev - Piano Concerto No. 3


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27 Feb 2024, 4:44 pm



https://m.youtube.com/watch?v=AWVUp12XP ... IDQnMzM%3D

John Cage - 4'33''


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