Podcasts about Maestoso

Franz Schubert (1797-1828) - Stabat Mater, D.3831.       Chor: "'Jesus Christus schwebt am Kreuzel". Largo [00:00]2.       Arie: "Bei des Mittlers Kreuze standen bang". Andantino [03:31]3.       Chor: "Liebend neiget er sein Antlitz" Andante [06:45]4.       Duett: "Engel freuten sich der Wonne". Allegretto [08:49]5.       Chor: "Wer wird Zähren sanften Mitleids". Larghetto [12:18]6.       Arie: "Ach, was hätten wir empfunden". Adagio [18:40]7.       Chor: "Erben sollen sie am Throne". Allegro maestoso [21:32]8.       Arie: "Sohn des Vaters, aber leiden". Andantino [24:58]9.       Chor: "O du herrlicher, du herrlicher Vollender". Maestoso [29:16]10.   Terzett: "Erdenfreuden und ihr Elend". Allegro moderato [32:26]11.   Terzett mit Chor: "Dass dereinst wir, wenn im Tode". Andante sostenuto [36:00]12.   Chor: "Amen, amen, amen". Allegro maestoso [39:28] Magdaléna Hajóssyová, sopranoRundfunk-Sinfonieorchester LeipzigRundfunkchor LeipzigHerbert Kegel, conductor

Music for Meditation, Maestoso from L'Organiste which was a book of organ music (César Franck: 1822-1890)

BRUCKNER: Sinfonía nº 6 en La mayor WAB 106 (Primer y segundo movimientos: Maestoso y Adagio, Sehr feierlich) (33.19). Orq. Estatal Sajona de Dresde. Dir.: B. Haitink. Vexilla regis (6.09). Christus factus est (6.01). Coro de la Radio de Baviera. Dir.: W. Schubert.Escuchar audio

Classical, traditional and folk music in the 20th centuryZoltán Kodály (1882-1967) - Variations on a Hungarian folk song “The Peacock”, for orchestra (1937-39)1.       Theme. Moderato 00:00-03:302.       Variations I-VI. Con brio - Più mosso - Poco calmato - Appassionato - Tempo (calmato) 03:32-06:353.       Variations VII-X. Vivo - Più vivo - Molto vivo 06:35-09:354.       Variations XI-XII. Andante espressivo - Adagio 09:35-16:105.       Variations XIII-XVI. Tempo de Marcia funebre - Andante, poco rubato - Allegro giocoso - Maestoso 16:10-22:406.       Finale. Vivace 22:40-26:45London Symphony Orchestra István Kertész, conductorAbout composer

Arte, Ciência, Política e Religião são as 4 faces da pirâmide do conhecimento que deram forma às grandes civilizações da História.  No segundo episódio da Série especial sobre a 18ª edição da Semana Mundial da Filosofia, veremos como a Filosofia dá sentido a essa estrutura e permite ao Ser Humano escalar o seu próprio caminho evolutivo. O Dia Mundial da Filosofia foi criado em 2022 pela Unesco e desde então a Nova Acrópole contribui mostrando ao mundo que a Filosofia pode ser ativa e atual. Em 2023, o tema geral da semana é Filosofia em Ação. Acompanhe toda a programação através do site diamundialdafilosofia.com.br e todos os episódio através do site nova-acropole.org.br/podcast.  Participantes: Thiago Almada e Danilo Gomes Trilha: Tchaikovsky - Prélude Nº 3 in B flat major op. 23 Nº 2 - Maestoso

Riccardo Zandonai (1883-1944) - I Quadri di Segantini 1. L'aratura2. Idillio3. Il ritorno al paese natio4. MeriggioHaydn Orchestra di Trento e Bolzano diretta da Giuseppe Grazioli.*****************Modest Musorgskij (1839 - 1881) - Quadri di un'esposizione Promenade - Allegro giusto, nel modo russico; senza allegrezza, ma poco sostenutoGnomus - Sempre vivoPromenade - Moderato commodo e con delicatezzaIl vecchio castello - AndantePromenade - Moderato non tanto, pesante Tuileries (Dispute d'enfants après jeux) - Allegretto non troppo, capriccioso Bydlo - Sempre moderato pesante Promenade - Tranquillo Balletto dei pulcini nei loro gusci - Scherzino. Vivo leggiero Samuel Goldenberg und Schmuyle - Andante Limoges: Le marché - Allegretto vivo sempre scherzando Catacombae: Sepulchrum Romanum - Largo La cabane sur des pattes de poule - Allegro con brio, feroce La grande porta di Kiev - Allegro alla breve. Maestoso. Con grandezza London Symphony OrchestraClaudio Abbado, direttore

Modest Musorgskij (1839 - 1881) - Quadri di un'esposizione (Versione per orchestra di Maurice Ravel) Promenade - Allegro giusto, nel modo russico; senza allegrezza, ma poco sostenutoGnomus - Sempre vivoPromenade - Moderato commodo e con delicatezzaIl vecchio castello - AndantePromenade - Moderato non tanto, pesanteTuileries (Dispute d'enfants après jeux) - Allegretto non troppo, capricciosoBydlo - Sempre moderato pesantePromenade - TranquilloBalletto dei pulcini nei loro gusci - Scherzino. Vivo leggieroSamuel Goldenberg und Schmuyle - AndanteLimoges: Le marché - Allegretto vivo sempre scherzandoCatacombae: Sepulchrum Romanum - LargoLa cabane sur des pattes de poule - Allegro con brio, feroceLa grande porta di Kiev - Allegro alla breve. Maestoso. Con grandezzaMünchener PhilharmonikerMünchener PhilharmonikerSergiu Celibidache, conductor

Likewise with the Anglo-Scottish composer William Wordsworth (1908–88), great-great-grandnephew of the poet, with whom I occasionally exchanged letters and phone calls in the pre-e-mail late 1970s and early 1980s: I never could have predicted that his reputation might be restored by a series of Toccata Classics albums of his orchestral music, and I confess to an inordinate degree of pleasure in having helped right that injustice. Wordsworth's piano music, too, was poorly known before now, none of it recorded since a handful of pieces appeared on LP 60 years ago – though his epic Piano Sonata is a work of major importance. The first-ever complete recording, on this release, reveals an honest, unfussy approach to the keyboard akin to that of two other major symphonists, Sibelius and Rubbra: like them, Wordsworth's primary concern seems to have been the expression of deep feeling – which makes the gentle story-telling of his miniatures for children all the more surprising. The pianist is that stalwart defender of Scottish piano composers, Christopher Guild – who grew up just a few miles along the Moray Firth from Wordsworth's Highland home overlooking Glen Feshie in the Cairngorms.TracksPiano Sonata in D Minor, Op. 13 (1938-39) (27:04) I. Maestoso (13:21) II. Largamente e calmato – (6:13) III. Allegro molto – Poco adagio – Tempo I (7:30) Three Pieces for Piano* (10:35) Prelude (1932) (4:40) Scherzo (undated) (2:04) Rhapsody (spring 1934) (3:51) Cheesecombe Suite, Op. 27 (1945) (13:18) I. Prelude (4:35) II. Scherzo (1:34) III. Nocturne (4:58) IV. Fughetta (2:11) Ballade, Op. 41 (1949) (7:55) A Tale from Long Ago (publ. 1952)* (1:48) March of the Giants (publ. 1952)* (1:16) Ding Dong Bell (publ. 1952)* (1:19) Snowflakes (publ. 1952)* (1:38) Fireside Story (publ. 1952)* (2:28) Bedtime (Six O'Clock) (publ. 1952)* (1:13) Bedtime Story (publ. 1952)* (1:25) Hornpipe (publ. 1952)* (1:03) Valediction, Op. 82 (1967)* (10:00) - First RecordingsHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcast with the permission of Sean Dacy from Rosebrook Media.

EX51 - Ching Juhl - Film Director of My Yang Gang Diary - Movie Score Highlights My Yang Gang Diary, documentary, 81 min. 2021 is written, directed, filmed, edited and produced by Ching Juhl. The doc told stories of 2020 Democratic presidential candidate Andrew Yang's campaign through the eyes of his supporters, known as the Yang Gang. Juhl documented her one year journey with members of the Yang Gang across 12 cities in the US. Although Yang suspended his presidential campaign in February 2020, his Humanity Forward movement carries on his ideals and vision for America's future. Andrew Yang is running for New York City mayor 2021. Director Bio: Ching Juhl, Chinese American, is a passionate filmmaker, video journalist and music educator. She has directed, produced, shot and edited more than 30 documentary shorts. She is the founder/owner of Juhl Media. Juhl has created and published more than 600 videos on social media, and topics ranging from current events to education, from live interviews to music productions. Ching Juhl's films "Lingering Time", "That Moment" and "Viva la Viola" were screened in Asia, Europe and North America. Her doc short “Black Lives Matter” was world premiered at the Socially Relevant Film Festival NY in 2020. Educated at New York University and Indiana University, she taught at Touro College, St. Joseph's College, and she has been directing Music Studio Manhattan since 2001. Songs from the Soundtrack Featured in this episode Tee Cloud - Heading to New Mexico Paul Chihara - String Trio: 1. Maestoso. Allegro molto My Yang Gang Diary - Movie Trailer For watching or buy the film: https://vimeo.com/ondemand/370872 My Yang Gang Diary, feature documentary, 90-min tells stories of Andrew Yang's presidential campaign and the grassroots movement from the Yang Gang supporters. Shot on iPhone, Ching Juhl documents her one year journey across 12 cities in the US. Suspending his presidential campaign in February 2020, Andrew Yang's Humanity Forward movement and Universal Basic Income (UBI) policy continues on for America's future. My Yang Gang Diary is written, directed, filmed, edited and produced by Ching Juhl. The film was created during the pandemic lockdown. It won 4 awards in film festivals around the world. Ching Juhl is a Chinese American filmmaker, video journalist, musician and YouTube content creator. She studied Video/Film Production at New York University, and earned a Master's Degree in Viola Performance from Indiana University. She performed with Jade String Trio, Phoenix Symphony, Pittsburgh Opera as well as backing up with Rod Stewart band. She taught music at St. Joseph's College for 15 years. Ching Juhl conducts Smartphone Video Production workshops in colleges, festivals and Clubhouse. She is the host for A Live Conversation with on Juhl Media's YouTube channel. Pease consider subscribe to this channel for more videos. https://www.myyanggangdiary.com/ https;//www.facebook.com/myyanggangdiaary/ https://www.instagram.com/myyanggangd... https://clubhousedb.com/user/juhlmedia/ https://www.facebook.com/chingchenjuhl/ https://www.facebook.com/juhlmedia/ https://www.instagram.com/juhlmedia/ https://imdb.me/chingcjuhl/ https://tiktok.com/@juhlmedia​/​ https://www.twitter.com/chingjuhl/ ___ The Add to My Playlist Podcast Website

Mazurkas represent the pinnacle of Chopin style and a special opportunity for expressing his personal feelings towards life, time, and his country. In this episode I will investigate a Mazurka and gather insights into Chopin's whole poetic world, richness of craft and depth of artistry.After going into details, I will perform the Mazurka. Here a recording by the great pianist Stanislav Bunin: https://open.spotify.com/track/5V1a46tfY5VsWJfpcFDTbG?si=de729e1bc8c445a3Where is the Music Podcast is the home of musical investigation.It is available on all major platforms:SPOTIFY https://open.spotify.com/show/1kBBFkibFPLXPG7xPT39SdAPPLE https://podcasts.apple.com/us/podcast/where-is-the-music/id1686494630YOUTUBE https://youtube.com/playlist?list=PLqRrwZuZFOqwXI4pJurmVn8NvXFD_Wr52TUNEIN http://tun.in/ptYNhLinks to my work:Music, concerts and blog: https://www.albertoferro.com/YouTube: https://www.youtube.com/channel/UCSwjhqixWMo4Fs-qwQM9BPAInstagram: https://www.instagram.com/alberto.l.ferro/Facebook: https://www.facebook.com/alberto.l.ferroSpotify: https://open.spotify.com/artist/2hBpLXGCZigUh0wForJFiU

Edward MacDowell (1860-1908)Piano Concerto No. 1 in La minore, Op. 15 (1882)1. Maestoso; Allegro con fuoco2. Andante tranquillo 3. Presto **********25'07”Piano Concerto No. 2 in Re minore, Op. 23 (1885) 1. Larghetto calmato 2. Presto giocoso3. Largo - Molto allegro National Symphony Orchestra of IrelandStephen Prutsman, pianoforte Arthur Fagen, direttore

Edward MacDowell (1860-1908)Piano Concerto No. 1 in La minore, Op. 15 (1882)1. Maestoso; Allegro con fuoco2. Andante tranquillo 3. Presto ***********25'07”Piano Concerto No. 2 in Re minore, Op. 23 (1885) 1. Larghetto calmato 2. Presto giocoso3. Largo - Molto allegroNational Symphony Orchestra of IrelandStephen Prutsman, pianoforte Arthur Fagen, direttore

Edward MacDowell (1860-1908)Piano Concerto No. 1 in La minore, Op. 15 (1882)1. Maestoso; Allegro con fuoco2. Andante tranquillo 3. Presto **********25'07”Piano Concerto No. 2 in Re minore, Op. 23 (1885) 1. Larghetto calmato 2. Presto giocoso3. Largo - Molto allegro National Symphony Orchestra of IrelandStephen Prutsman, pianoforte Arthur Fagen, direttore 

Episode #61: Mortality and Spirit Uploaded: April 23, 2022 Ludwig van Beethoven: Piano Sonata No. 30 in E Major, Op. 109 I. Vivace, ma non troppo; Adagio espressivo II. Prestissimo III. Andante con variazioni: Gesangvoll, mit innigster Empfindung Piano Sonata No. 31 in A-flat Major, Op. 110 I. Moderato cantabile II. Allegro molto III. Recitativo: Adagio, ma non troppo; Arioso dolente; Fuga: Allegro, ma non troppo; L'istesso tempo di Arioso; L'istesso tempo della Fuga Piano Sonata No. 32 in C Minor, Op. 111 I. Maestoso; Allegro con brio ed appassionato II. Arietta: Adagio molto semplice e cantabile Andrew Rangell, piano DORIAN RECORDINGS DOR-90158 Henryk Górecki: Totus Tuus, Op. 60 Arvo Pärt: Magnificat Frank Martin: Mass I. Kyrie II. Gloria III. Credo IV. Sanctus V. Agnus Dei Robert Shaw Festival Singers Robert Shaw, conductor TELARC CD-80406

Frédéric Chopin wrote his first piano concerto ever in 1830. It was premiered that same year, and published after his next concerto, hence it came to be known as the Piano Concerto no. 2, in F minor, even though it was the first to be composed. Written before Chopin finished his formal education, the piece betrays a certain sophistication in terms of formal development. It features an extremely dominant piano part, with the orchestra leaving all responsibility for musical development to the soloist, thus ignoring the interplay that is the mainstay of an instrumental concerto. The instrumentation of the concert has even been considered to be poor (Berlioz criticised Chopin's treatment of the orchestra). The piece bears the unmistakable influence of italian opera -a common denominator for pianists of Chopin's time- as well as the Polish mazurka.

Choir and Organ

Edward MacDowell (1860-1908)Piano Concerto No. 1 in La minore, Op. 15 (1882)1. Maestoso; Allegro con fuoco2. Andante tranquillo 3. Presto 25'07”Piano Concerto No. 2 in Re minore, Op. 23 (1885) 1. Larghetto calmato 2. Presto giocoso3. Largo - Molto allegroNational Symphony Orchestra of IrelandStephen Prutsman, pianoforte Arthur Fagen, direttore

Drugi vsebinski poudarki oddaje: - Malo gospodarstvo je v dobri kondiciji, a podmladka je malo - Za brezplačne vožnje z mestnim avtobusom bodo upokojenci potrebovali kartico - Preštevilčni divji prašiči povzročajo sive lase kmetovalcem na severnem Primorskem - V Lipici sledijo viziji trajnostnega in zelenega turizma. Prispevek k temu je tudi prenovljeni hotel Maestoso. - Na pohodu po oglarski poti na Dolah pri Litiji si bo mogoče ogledati tudi štoranje kope rekorderke

Episode #27: "You mean, his name isn't Bach-Busoni?" Uploaded: August 28, 2021 Johann Sebastian Bach, transcribed by Ferruccio Busoni: Toccata and Fugue in D Minor, BWV 565 [8:17] Ferruccio Busoni: Elegien No. 2: All' Italia! (In modo napolitano) [7:43] Sonatina No. 6: Kammer-Fantasie über Carmen [8:09] Johann Sebastian Bach, transcribed by Ferruccio Busoni: Chaconne, from Partita in D Minor for solo violin, BWV 1004 [13:43] Ferruccio Busoni: Funf kurze Stücke zur Pflege des polyphonen Spiels I. Sostenuto [3:33] II. Andante molto tranquillo [1:39] III. Allegro [2:26] IV. Preludio [4:24] V. Adagio [5:36] Indianisches Tagebuch, I I. No. 1 [2:59] II. No. 2: Vivace [1:30] III. No. 3: Andante [4:10] IV. No. 4: Maestoso ma andando [2:35] Variationen und Fuge über das Präludium Op. 28, Nr. 20 von Frédéric Chopin, in C Minor [11:24] Valerie Tryon, piano CBC RECORDS MUSICA VIVA MVCD 1126 Felix Mendelssohn: Drei Psalmen, Op. 78 I. Psalm II [7:32] II. Psalm XLIII [4:07] III. Psalm XXII [8:14] Edvard Hagerup Grieg: Fire Salmer, Op. 74* I. Hvad est du dog skjön [5:30] II. Guds Sön har gjort mig fri [6:13] III. Jesus Kristus er opfaren [7:42] IV. I Himmelen [5:20] *Håkan Hagegård, baritone Oslo Domkor Terje Kvam, director NIMBUS RECORDS NI 5171

Choir and Organ

Yo-Yo Ma is a cellist and one of the world's most high-profile classical musicians. He has performed for eight US Presidents, appeared in concert halls across the globe and reached new audiences through film soundtracks and TV shows including The Simpsons and Sesame Street. Yo-Yo Ma was born in Paris in 1955. His Chinese-born parents were both musicians and his father was his first cello teacher. The family moved to the USA when Yo-Yo was seven, and a noted child prodigy, playing for John F Kennedy and Leonard Bernstein. He went on to study at the Juilliard School in New York and at Harvard University. He has recorded more than 100 albums, and his many Grammy awards reveal the range of his musical interests. Along with prize-winning concerto and chamber music discs, and an acclaimed recording of Bach's Suites from unaccompanied cello, he's won awards for folk and tango albums. He is also the driving force behind the Silk Road Ensemble, creating music inspired by the cultures found along the historic trade route linking China and the West. His high-profile appearances in America include the first performance on the site of the World Trade Centre, a year after the 9/11 attacks, and contributions to the inaugurations of Presidents Obama and Biden. A more recent informal solo performance took place at his local Covid vaccination centre in Massachusetts. Yo-Yo Ma has been married to Jill Hornor for more than 40 years, and they have two children. DISC ONE: Hallelujah by Leonard Cohen DISC TWO: Erbame Dich composed by J.S Bach, conducted by Ton Koopman, performed by Kai Wessel (alto vocals), accompanied by Amsterdam Baroque Orchestra DISC THREE: Brahms: Piano Concerto No. 1 in D Minor, Op. 15: Maestoso, composed by Johannes Brahms, conducted by George Szell, performed by The Cleveland Orchestra DISC FOUR: Elgar: 1st movement Cello Concerto in E Minor, Op 85, composed by Edward Elgar, conducted by Jacqueline du Pré (cello) and London Symphony Orchestra DISC FIVE: Tin Tin Deo (Live) by The Oscar Peterson Trio DISC SIX: M4 Lieder, Op.27: Morgen! Composed by Richard Strauss, performed by Janet Baker (mezzo-soprano) and Gerald Moore (piano) DISC SEVEN: Podmoskovnye Vechera - Moscow Nights, composed by Vasily Solovyov-Sedoi, conducted by Constantine Orbelian and performed by Dimitri Hvorostovsky (baritone) and Moscow Chamber Orchestra DISC EIGHT: Schubert- Piano Trio #2 In E Flat, Op. 100, D 929 - 4. Allegro Moderato, composed by Franz Schubert, performed by Alexander Schneider (violin) and Mieczysław Horszowski (piano) BOOK CHOICE: Encyclopedia Britannica LUXURY ITEM: A Swiss Army knife CASTAWAY'S FAVOURITE: Schubert- Piano Trio #2 In E Flat, Op. 100, D 929 - 4. Allegro Moderato, composed by Franz Schubert, performed by Alexander Schneider (violin) and Mieczysław Horszowski (piano) Presenter Lauren Laverne Producer Sarah Taylor

Episode #13: No fools Russian Uploaded: May 22, 2021 Fryderyk Franciszek Chopin: Variations in A major "Souvenir de Paganini", B. 37 [3:25] Robert Schumann: 6 Concert-Etuden componirt nach Capricen von Paganini, Op. 10 I. Allegro molto, in A-flat Major [4:17] II. Cantabile, Non troppo lento, in G Minor [4:20] III. Vivace, in G Minor [2:41] IV. Maestoso, in C Minor [8:48] V. Moto perpetuo, in B Minor [2:06] VI. Sostenuto – Allegro, in E Minor [4:23] Ferenc Liszt: Études d'exécution transcendante d'après Paganini, S. 140 I. No. 1 in G minor (Preludio: Andante; Non troppo lento, cantabile: "Tremolo") [5:14] II. No. 2 in E♭ major (Andantino capricciosamente) [5:31] III. No. 3 in A♭ minor (Allegro moderato) [4:37] IV. No. 4 in E major (Andante quasi allegretto) [3:53] V. No. 5 in E major (Allegretto, dolcissimo: “La Chasse") [3:55] VI. No. 6 in A minor (Quasi presto, a capriccio: Theme and Variations) [5:58] Nikolai Petrov, piano MELODIYA MCD 144 Rodion Shchedrin: Echo-Sonata for solo violin [23:14] Sergei Stadler, violin Nikolai Rimsky-Korsakov, completed by Maximilian Steinberg: Piano Trio in C Minor I. Allegro [15:06] II. Allegro [4:46] III. Adagio [10:08] IV. Finale: Adagio—Allegro assai [16:01] The Moscow Trio: Alexander Bonduryanksy, violin Vladimir Ivanov, ‘cello Mikhail Utkin, piano MELODIYA MCD 140 Artwork: Buda, János (1919-2005); "David listening Bach", 19-Oct-89. 7 1/2" x 11". Pen and ink sketch.

Riccardo Morandi nacque a Roma il 1° settembre 1902 e si laureò in ingegneria presso la Regia Scuola di ingegneria di Roma nel 1927. Morì la notte di Natale del 1989 e non fu solo uno studioso ed un professore che insegnava l'arte del costruire ai suoi studenti, ma un progettista che amava profondamente il materiale che aveva sposato: Il cemento armato precompresso. In questa puntata ripercorriamo la sua storia, quella di un uomo che fu in grado di passare dalla costruzione di cinematografi a quella di grandi ponti, uno degli ingegneri più prolifici, premiati e straordinari che l'italia della ricostruzione, e di conseguenza del boom, abbia mai avuto. Oggi purtroppo il suo ricordo si è macchiato a causa del crollo del suo ponte più memorabile, il Viadotto Polcevera di Genova, avvenuto il 14 agosto 2018 alle 11:36 di mattina.

There is no way that sugar and cheese are more addictive than heroin, is there? That's the subject of a study that is just freaky. Not freaky? The Avo XO Maestoso cigar. Eat! Drink! Smoke! (http://facebook.com/eatdrinksmoke) - with Tony Katz and Fingers Malloy (http://eatdrinksmokeshow.com) - reviews cigars and bourbon while digging in on food and food stories. The 7" cigar was paired with Michter's Small Batch Bourbon According to Jim Cramer of CNBC, travel could see a huge uptick in 2021. According to Tony and Fingers, airline tickets are already moving higher Fingers has the News of the Week, including how actor Jamie Foxx is getting into the bourbon business with Brown Sugar Bourbon. Chick-Fil-A is giving up on bagels, Cheetos solve a crime in the UK and cigars do not need to cost $500 a box. Subscribe to the podcast. Click Here! (http://bit.ly/eatdrinksmoke)

A cura di Massimiliano SamsaWater Music, Suite No. 1 in F Major, HWV 348I. Ouverture. Maestoso - Allegro - Adagio e staccato – II. Allegro - Andante – AllegroIII. ModeratoIV. AirVI. Bouree VII. HornpipeVIII. Allegro moltoWater Music, Suite No.2 in D MajoI. Allegro - II. HornpipeIII. MenuetIV. Lentement - V. PrestoWater Music, Suite No.3 in G Major I. LentoII. Aria. AllegroIII. Menuet - IV. Andante - V. Country DancBerliner Philharmoniker,Riccardo Muti, direttore

Marco Maestoso is a Michelin star nominated chef and creator of the infamous and very successful Maestoso restaurant. We discussed returning to Rome in the middle of the pandemic, living in Italy during these challenging times, being a contestant on the TV show Chopped, and what his plans are now that is he back in San Diego. Enjoy!  Instagram: @maestoso   Need Caffeine & GREEN?  www.caffeineandgreenroasting.com

A cura di Massimiliano SamsaRiccardo Zandonai (1883-1944) - I Quadri di Segantini 1. L'aratura2. Idillio3. Il ritorno al paese natio4. MeriggioPrima esecuzione: 1931Haydn Orchestra di Trento e Bolzano diretta da Giuseppe Grazioli.In Zandonai si sviluppi gradualmente l'idea di un'associazione tra la sua vibrazione sonora e la ricerca pittorica. Sulla luce del divisionismo di Giovanni Segantini (1858-1899) diventa chiaro nel momento in cui egli compone nel 1931 i Quadri di Segantini, non semplice tributo a un altro artista del Trentino, ma vero tripudio sonoro della tecnica della ‘pulsazione' sonora. Tentare di stabilire una similitudine tecnica diretta tra il divisionismo e tale tecnica compositiva, come fecero alcuni recensori dell'epoca, sarebbe però azzardato, o meglio proprio campato in aria. Quello che i due procedimenti potrebbero avere in comune è piuttosto il fine, ovvero l'idea di riprodurre artisticamente con i mezzi propri delle rispettive arti l'effetto della luce attraverso la sua rifrazione o vibrazione nei differenti colori o timbri.Testo tratto da: https://agiati.ams3.cdn.digitaloceanspaces.com/website/page/attachments/art13-porry-pastorel.pdf Giovanni Segantini (1858 -1899) – L'aratura Giovanni Segantini (1858 -1899) – L'idillio Giovanni Segantini (1858 -1899) – L'idillio Giovanni Segantini (1858 -1899) – Meriggio----------------------------Modest Musorgskij (1839 - 1881) - Quadri di un'esposizionePromenade - Allegro giusto, nel modo russico; senza allegrezza, ma poco sostenuto1.Gnomus - Sempre vivoPromenade - Moderato commodo e con delicatezza2.Il vecchio castello - AndantePromenade - Moderato non tanto, pesante3.Tuileries (Dispute d'enfants après jeux) - Allegretto non troppo, capriccioso4.Bydlo - Sempre moderato pesantePromenade - Tranquillo5.Balletto dei pulcini nei loro gusci - Scherzino. Vivo leggiero6.Samuel Goldenberg und Schmuyle - Andante7.Limoges: Le marché - Allegretto vivo sempre scherzando8.Catacombae: Sepulchrum Romanum - Largo9.La cabane sur des pattes de poule - Allegro con brio, feroce10.La grande porta di Kiev - Allegro alla breve. Maestoso. Con grandezzaVersione originale per pianoforte composta nel 1874Versione per orchestra di Maurice RavelPrima esecuzione: Parigi, Théâtre de l'Opéra, 19 ottobre 1922London Symphony OrchestraClaudio Abbado, direttoreUn mercoledì del giugno 1874 Musorgskij scrisse al «caro Generalissimo», com'egli apostrofava Vladimir Stasov, eminenza grigia della scuola nazionale russa. «Lavoro a tutto vapore ai Quadri, come ho lavorato a tutto vapore ai tempi del Boris. Le note e le idee vorticano nell'aria; io le divoro con fame febbrile e trovo appena il tempo di schizzare ogni cosa sulla carta. Sono alla stesura del quarto pezzo. I trapassi sono riusciti, grazie alle promenades. Vorrei condurre in porto il tutto al più presto e come meglio posso. Il mio stato d'animo si fa luce negli interludi. Fino ad ora sono soddisfatto. Vi abbraccio e sento che mi benedirete per quanto faccio - e quindi, beneditemi!» L'occasione del furore creativo era stata una recente mostra di disegni e schizzi dell'architetto Victor Hartmann, grande amico di Musorgskij, morto nell'estate del 1873. Dieci pezzi della mostra danno il titolo ad altrettanti quadri pianistici, e sono introdotti e raccordati da una Promenade, che nelle sue variazioni illustra, come ci avverte Musorgskij, l'umore dell'autore.1) Gnomus - un nanerottolo si avanza sulle gambe storte, tratteggiato da una scrittura musicale colorita, costruita, come gran parte dei quadri, per libere associazioni di quelle idee che il compositore afferma vorticavano nell'aria durante il lavoro. 2) Il vecchio castello - canto di un trovatore sotto le mura di un castello, appoggiato su singolari armonie. 3) Tuileries - una baruffa di ragazzetti nei giardini delle Tuileries. 4) Bydlo - nome del carro da buoi polacco a grandi ruote, descritto con una marcia dal suo apparire in distanza, fino alla piena presenza, e poi nella dissolvenza del suo allontanarsi. 5) Danza di pulcini nei loro gusci - uno «scherzino» con «trio», a corrispettivo di un bozzetto per una scena di balletto. 6) Due ebrei polacchi, l'uno ricco e l'altro povero - Musorgskij li identifica attraverso due princìpi tematici antitetici. Solenne il passo del ricco, querula la voce del povero. Dapprima le immagini tematiche sono esposte in successione, e poi sovrapposte, come ad indicare l'indifferenza dell'uno per gli argomenti dell'altro. 7) Limoges, la piazza del mercato - un altro scherzo solcato da improvvisi sforzati, che tratteggiano i pettegolezzi e la baruffa delle comari. 8] Catacumbae - un autoritratto di Hartmann che visita le catacombe di Parigi alla luce di una lanterna. Sul manoscritto, in corrispondenza dell'Andante, intitolato «Cum mortuis in lingua mortua», Musorgskij ha scritto: «lo spirito creatore del defunto Hartmann mi conduce verso ì crani e li invoca - i crani rilucono dolcemente dall'interno». Al basso abbiamo il tema della promenade (Musorgskij), avvolto nei tremoli della mano destra (il lucore dei crani). 9) La capanna di Baba-Yaga - il quadro rappresenta un orologio su zampa di gallina, è la dimora di Baba-Yaga, una strega popolare russa. La musica la tratteggia nell'incedere demoniaco. 10) La grande porta di Kiev - Progetto di una nuova porta a Kiev, con ornati in stile russo barbarico. Musorgskij vi fa corrispondere un inno condotto nello stile modale dei cori di giubilo dell'opera russa, da «La vita per lo zar» al finale delI'«Uccello di Fuoco».Gioacchino Lanza TomasiTesto tratto da: https://www.flaminioonline.it/Guide/Musorgskij/Musorgskij-Quadriorc.html

A cura di Massimiliano SamsaJohannes Brahms (1833-1897)Sechs Lieder, opus 85- Sommerabend nr. 1- Mondenschein nr. 2Vier Lieder, opus 96- Meerfahrt nr. 4- Der Tod das ist die kühle Nacht nr.1Ian Bostridge, tenoreSaskia Giorgini, pianoforte------------------------------------Johannes Brahms (1833-1897)Concerto no.1 in re minore per pianoforte e orchestra op.151.Maestoso (re minore)2.Adagio (re maggiore)3.Rondò. Allegro non troppo (re minore)Staatskapelle DresdenMaurizio Pollini, pianoforteChristian Thielemann, direttoreÈ noto che la nascita del Primo Concerto per pianoforte e orchestra di Brahms fu lunga e tormentata, e avvenne per fasi successive. Il lavoro, abbozzato negli anni 1852-53, avrebbe dovuto portare alla creazione di una Sinfonia, come Brahms desiderava e come anche il suo mentore Robert Schumann si era entusiasticamente augurato ("Se egli abbasserà la sua bacchetta magica là dove le potenze delle masse corali e orchestrali gli potranno concedere le proprie forze, noi potremo attenderci di scoprire paesaggi ancor più meravigliosi nei segreti del mondo degli spiriti": è un passo del celebre articolo Vie nuove, 28 ottobre 1853). All'inizio del 1854 il progetto originario si trasformò in una Sonata per due pianoforti, scelta evidentemente ritenuta utile da Brahms, pianista eccelso, per avvicinarsi all'idea di Sinfonia attraverso un cartone preparatorio che si basasse sullo strumento che conosceva meglio e che gli era più congeniale. Nell'estate del 1854 Brahms lo orchestrò per farne un primo tempo di Sinfonia; ma nel corso dell'anno abbandonò l'idea della Sonata, informandone l'amico violinista Joseph Joachim: «Ritengo che lascerò da parte la mia Sonata in re minore. Ho suonato spesso i primi movimenti con la signora Schumann, e sono sempre più convinto che nemmeno due pianoforti siano sufficienti». Proprio a Clara Schumann, sempre nel 1854, Brahms comunicava di aver "trasformato la mia Sinfonia abortita in un Concerto per pianoforte". Da quel momento il processo compositivo, pur non mutando più l'obbiettivo, passò attraverso una serie innumerevole di ripensamenti e di riscritture: il primo movimento fu rimesso in discussione più volte e rielaborato ancora nel 1856-57; quello centrale, in origine una sarabanda in tempo Lento funebre, respinto e sostituito da un Adagio (verrà riutilizzato, anni dopo, nel secondo coro del Requiem tedesco); il terzo integralmente riscritto nel 1857. Tutto questo fervore compositivo si protrasse fino al 1858, senza che Brahms fosse interamente soddisfatto del suo lavoro. Nel marzo 1858 fu organizzata una prova segreta del Concerto con l'autore al pianoforte e solamente pochi amici presenti: tra questi Joachim, divenuto ormai, dopo la morte di Schumann, il consigliere ufficiale di Brahms. Nuovi dubbi e nuove modifiche. Per quanto Brahms si rendesse conto di non poter più incidere a fondo su un ordito sonoro ormai troppo fitto, era pur necessario alla fine giungere a una conclusione. A Joachim confessò: «Su questo Concerto non riesco più ad avere un giudizio obbiettivo, come non riesco più ad avere, su di esso, alcun potere».La prima esecuzione del Concerto avvenne il 22 gennaio 1859 ad Hannover, solista lo stesso Brahms, direttore Joachim, con accoglienza tiepida. Si trattava in realtà di un'anteprima in vista della presentazione al Gewandhaus di Lipsia del 27 gennaio (direttore Julius Rietz, solista ancora Brahms), dove il Concerto fu subissato dai fischi. Il giorno dopo Brahms, scrivendo a Joachim, osservò: «Penso, comunque, che questo risultato sia il meglio che potesse capitarmi: mi induce a lottare, mi dà coraggio. Dopo tutto sono ancora in una fase di sperimentazione e sto orientandomi a tentoni. Però, a ben pensarci... i fischi erano davvero troppi». Una successiva esecuzione ad Amburgo, il 24 marzo, venne nuovamente diretta da Joachim e si risolse in un successo formale, di stima. Brahms decise allora di ritirare il Concerto, e vi apportò ancora qualche miglioramento in vista della pubblicazione, uscita nel 1861. Come interprete lo riprese solo nel 1865, sotto la direzione di Hermann Levi, non ancora passato al partito wagneriano. Ma per vederne la definitiva consacrazione si dovranno attendere gli anni Ottanta, quando i trionfi del secondo Concerto si rifletteranno anche sul primo.L'op. 15 è il frutto di un'ossessione (scrivere una Sinfonia, sogno che avrebbe dovuto attendere fino al 1876 per realizzarsi) e di una ricerca accompagnata da uno strenuo spirito di autocritica. La conseguenza fu una contraddizione risolta con un compromesso, adottando uno schema tradizionale per un modello alternativo. Non stupisce quindi che il destino del Concerto fosse contrastato e difficile. Molti dei rilievi che gli vennero mossi dai primi ascoltatori (e non bisogna dimenticare che Brahms ebbe fin dall'inizio ascoltatori attenti e non prevenuti) sono in parte comprensibili. In effetti il Concerto in re minore è lontano dalle convenzioni del concerto per strumento solista, in quanto il pianoforte e l'orchestra vi sono trattati su un piano di assoluta parità: il che lo fece sembrare una Sinfonia con pianoforte obbligato. La stessa evidente ambizione di rifarsi al Beethoven drammatico ed eroico (soprattutto a quello del Terzo Concerto in do minore) collide con la profusione di passaggi divaganti e sospesi (nel senso del phantasieren romantico alla Schumann) e con il contenuto eterogeneo, appassionato, malinconico, giocoso, dei temi. Insomma esso ci appare come un lavoro di sperimentazione che solo a posteriori avrebbe trovato la sua giustificazione e la sua esatta collocazione nella storia del Concerto per pianoforte: costituendo, di essa, una sorta di ultimo anello. E ciò che ce lo fa apprezzare nel suo pregio e nella sua novità, poteva apparire all'epoca di composizione un difetto. L'accusa ricorrente, che a noi appare infondata, di non offrire al solista alcuna occasione di protagonismo, va anch'essa intesa secondo un'ottica che aveva a punto di riferimento la letteratura brillante, o quella salottiera, del tempo: assorbite entrambe da Brahms, ma finalizzate ad altri scopi. Pur privo di vere e proprie cadenze (del tutto abolita quella fondamentale del primo movimento), la parte pianistica presenta notevoli difficoltà tecniche (arpeggi rapidissimi, doppie terze e seste, tripli trilli, doppie ottave, decime spezzate nella mano sinistra, eccetera: senza contare la densità massiccia degli accordi, mossi da una stratificata polifonia interna), ma non nel senso della esibizione virtuosistica. Giacché la sua sostanza rimane quella di un pensiero sinfonico integrato e ampliato al pianoforte.L'impegno costruttivo e architettonico si manifesta soprattutto nel tempo d'apertura, che da solo occupa quasi la metà del Concerto. Ma non si tratta tanto di questioni di durata quanto di intenzioni. Nell'indicazione Maestoso e nella stessa tematica è impossibile non ravvisare l'ombra incombente della Nona Sinfonia di Beethoven (che Brahms, fra l'altro, aveva ascoltato per la prima volta a Colonia nel marzo 1854, proprio durante la gestazione del Concerto). L'introduzione orchestrale, di eccezionale ampiezza (90 misure), è di altrettanto eccezionale complessità: al primo tema, appassionato, cupo, tempestoso, sostenuto da un lungo pedale cromaticamente discendente, quasi basso dilatato di passacaglia, segue una dolce parentesi lirica, di trepida emozione, da cui si originano, prima e dopo il riapparire del primo tema, singoli spunti che verranno ripresi ed elaborati dal solista nel corso del movimento. L'entrata del pianoforte, punteggiata da trombe e timpani soli, è pensosa e severa, quasi velata, e può ricordare un corale. La progressiva integrazione tra solista e orchestra avviene nella gigantesca riesposizione e prosegue, alternando slanci e ripiegamenti, monologhi e dialoghi (tra i quali spicca quello poeticissimo con il corno), nell'intenso e tuttavia stringato sviluppo: per trovare infine nella ripresa, avviata questa volta dal pianoforte, la piena estrinsecazione di sostanza e decorazione, di forza drammatica e concentrazione espressiva.L'Adagio in re maggiore si apre con un tema introverso degli archi con sordina, accompagnati in terze dai fagotti, poi ripreso dal corno. Molto dolce ed espressiva è l'entrata del pianoforte, che elabora liberamente, come in un intermezzo fantastico, frammenti del tema. La parte centrale, affidata ai legni, ha un profilo più vivo e marcato, mentre il ritorno del primo tema, tra accordi ed arpeggi del pianoforte, sospingerà l'Adagio verso sonorità celestiali, di astratta purezza trascendente. L'epigrafe che accompagnava questo movimento nel manoscritto posseduto da Joachim ("Benedictus qui venit in nomine Domini") ha fatto per anni la delizia dei commentatori, già portati a riconoscere nel Concerto un'impronta programmatica (il primo biografo di Brahms, Max Kalbeck, aveva visto nel primo tempo l'evocazione del dramma della follia di Schumann). L'intestazione (cancellata in seguito) è stata interpretata in vari modi: come traccia di una Messa non completata o come un ritratto musicale di Robert e Clara Schumann. A noi pare che possa essere considerata semplicemente un devoto omaggio a Beethoven (Missa solemnis).L'Allegro non troppo finale è nella forma del Rondò. Un tema vigoroso, un po' rude e scontroso nei suoi nuovi tratti di danza popolare, viene esposto dal pianoforte, solo, passa all'orchestra, ritorna al pianoforte e poi invade baroccamente il Tutti. Una sua variante, di tono più leggero e lirico, introduce la parte più melodica del movimento, che culmina non inaspettatamente in un fugato a quattro voci degli archi in si bemolle minore. Seguono il ritorno del tema iniziale in re minore, una breve cadenza del pianoforte e la ripresa dell'elemento fugato da parte degli strumentini, in re maggiore. Nonostante la maestria dell'elaborazione e delle variazioni, e qualche nota asprigna di ironia mozartiana, questo finale denuncia u

- In this episode we will look at George Whitefield Chadwick, a member of the so called Boston 6, and dubbed by John Phillip Sousa as the “Pride of New England”. We will hear parts of his single movement work _Aphrodite_ , and find out how closely the music ties to the mythical figure herself. Also, we will explore Chadwick's time as student, teacher, then president of the New England Conservatory of music.###Composer- George Whitefield Chadwick's life spans an interesting series of world historical events and societal shifting inventions. I'm quoting from Bill Faucett's biography on Chadwick, as he puts it very articulately: “Born in 1854, just a few years before the first volley of the Civil War, he lived to see the devastation of the Great War and the turmoil wrought by the onset of the Great Depression.” “Chadwick also watched as technology improved—and sometimes invaded—his life via electricity, the phonograph and the gramophone, the telephone, and the motion picture. He traveled widely—first by horse cart and train, then by steamship and automobile, and eventually by air—in the United States and abroad. Chadwick's travels enabled his presence at many of the age's most consequential musical events…” Can you even imagine? Living and being so highly productive before electricity, the car, and the telephone? I know there are many others that did this, but it is a heavy concept to take in.- So Chadwick, born in Massachusetts, studied piano for a little bit at the New England Conservatory in Boston, then with an eye toward studying in Europe, as did most musicians at the time, he took a teaching position at the Michigan Conservatory of Olivet College to earn and save money. After 3 years, he went to Germany and studied piano and organ at the Munich Conservatory. After 2 years there, in 1879, seemingly ready to come back to the US anyway, Chadwick was invited to conduct his own _Rip Van Winkle_ Overture at Boston's Handel and Haydn Society Triennial Festival. So, he packed up and came back to Boston for good. Then, over nearly a decade, Chadwick held various church organ positions, conducted orchestras, managed festivals, and composed more and larger pieces. In 1897, though reticent at first to accept the position, Chadwick became director of the New England Conservatory of Music. (as a side note, this is very similar to how William Schuman became director of Juilliard, after declining the position multiple times) Though the position took up much of his time, Chadwick continued to teach composition and compose a great deal himself. He was even commissioned to write for Connecticut's Norfolk Music Festival, for which among other pieces he composed _Aphrodite_, the piece we will discuss shortly. - Chadwick's composition portfolio is large and eclectic. Piano and organ works, chamber music, orchestral, concerti, choral and stage pieces. He worked a great deal between that and his position at NEC. The ONLY thing that slowed him down was his health. First, it was Rheumatism, which made him lose some teeth and degraded his eyesight. That led to gout, which gave him a lot of chronic pain. But what did him in was a heart condition. Because he consistently wrote in his diary throughout his life, we have a clear though sobering account of the days leading up to his death. For example, on December 27, 1930 he writes “Paderewski dinner and concert,” “Had a heart attack and could not go.” Just like that! As if it was a minor inconvenience!###Culture- Our piece today is _Aphrodite_, written in 1911, Chadwick actually wrote this long, one movement work in a single month! The piece itself is quite hefty orchestrationally as well, notably calling for triple woodwinds, 4 horns, 4 trumpets, off-stage trumpets, both harp and celesta, and field drums.- As I mentioned, Chadwick wrote this piece for the Norfolk Festival. To put the Norfolk Festival performance into perspective, June of 1912, this was only 6 weeks after the sinking of the Titanic! Even Chadwick remarked “[it] has so overshadowed all other affairs that I could not get into any mood to write.”###Back story and anecdote of piece- Apparently, the impetus for this work was born from Chadwick's fascination with the marble bust of Aphrodite herself at the Museum of Fine Art in Boston. Though the work is entirely instrumental, Chadwick worked out a translation of ancient Greek poetry to accompany the score:In a dim vision of the long agoWandering by a far-off Grecian shoreWhere streaming moonlight shone on golden sandsAnd melting stars dissolved in silver seas,I humbly knelt at Aphrodite's shrineImploring her with many a fervid prayerTo tell the secret of her beauty's powerAnd the depths of the ocean whence she sprang.At last the wave-born goddess raised her handAnd smiling said: “O mortal youth, behold!”Then all these mysteries passed before mine eyes.- Intriguingly, while the vast majority of Chadwick's work is Romantic, Germanic, structured in form, this piece is, obviously, highly programmatic. While it is one movement, he designates titled sections: Moonlight on the sea, Storm, Requiem, The Lovers, Children Playing, Approach of a Great Army and Hymn to Aphrodite, Moonlight scene partly repeated, and Finale. A thematic strain is persistent throughout, instead of a formal rotation.###Analysis of pieceNow let's hear the piece itself. This 2002 NAXOS recording is of the Nashville Symphony conducted by Kenneth Schermerhorn. On a side note, because of the pandemic, the Nashville Symphony was forced to cancel their entire 2020-2021 season. This is of course grave news for the organization, the musicians, and their audience. I truly hope that the situation turns around for the Nashville Symphony and they get back to making music as quickly as is possible for everyone's safety.- A very melancholy beginning, the solo viola plays a variation of the Aphrodite motive that will persist throughout the piece. Accompanied by clarinets, the short phrase ends on a deceptive and un-resolving chord, followed by an ominous statement by the timpani.- After this repeats, building suspense, the texture settles in, an undulating figure in the strings, while the English horn plays the Aphrodite motive.- Though this section expands and builds, it is never harsh, never erupts. Not only does the activity remain relatively calm, the melody itself is rarely presented with a bright instrument, like oboe or flute, and even when it is it's combined with clarinet or English horn to mitigate the brighter timbre of the instrument. This is a keen insight of orchestration on the part of Chadwick- Eventually this transitions to a raucous Storm section, heavy on the low brass and percussion.- Having built up a substantial amount of tension, Chadwick opens up directly into the Requiem. Immediately, the simple theme is accompanied by quick running chromatic scales in the lower register, swelling over and over.- Having released a great deal of the opening tension during the requiem, Chadwick enters “The Lovers” section. This opens with a violin and horn duet that develops an intimate melodic line, likely signifying the lovers themselves.- After this opening, the lyrical line is developed to a fulfilling crest, and in Wagnerian style opens into a lightness and quicker tempo only to arrive at yet another, greater, fuller moment of bliss.- Following a very light, waltz-like section meant to be the “Children Playing”, Chadwick then makes use of offstage drums and trumpets to introduce the extended march of an approaching “Great Army”. The march builds up and as the army arrives, a grand Maestoso gives way, presenting a “Hymn to Aphrodite”.- When the drama finally plays out, Chadwick reprises the “Moonlight” theme from the opening, but this time with a bit more brightness. At last, he brilliantly allows the undulating accompaniment to organically expand, adding broader and larger swelling wind chords over the top, as if breathing in sweet relief to the end.###Outro- Chadwick was often accused, notably by his own colleague Horatio Parker, for being technical, craftsman like. Honestly, I don't hear what they hear. I find my self more engaged in this music every time I hear it. On top of that, Chadwick partly has a lot to do with the fact that in my own conservatory training I was offered and even at times encouraged to enrich myself with traditions other than just that of Europe. Do not get me wrong, I can play Bach, Mozart, Beethoven, Brahms, Mahler, etc. ALL DAY LONG. Though, I am thankful to people like Chadwick who encouraged American teachers, performers, and composers to believe in their own set of traditions, skills, instincts. Now, we have a mix of everything. What could be better?Music:'Aphrodite'By: George Whitefiled ChadwickPerformed by: Kenneth Schermerhorn, Nashville Symphony OrchestraCourtesy of Naxos of America, Inc.Support this podcast at — https://redcircle.com/american-muse-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

- In this episode of American Muse we will hear the first symphony by Roy Harris, titled for the year it was written 1933. We will discuss the odd man Harris was, his nomadic nature, and an interesting story about he, his wife, and her name... stay tuned for that. (Play opening 10 seconds)###Composer- Roy Harris, or LeRoy as is his full first name, born in Oklahoma, but quickly moved to southern California. Studied with Arthur Farwell at UC Berkeley. Had his first orchestral piece premiered at Eastman by Howard Hanson (that's about the best promotion you could ask for right out of the gate!). Then met a guy named Aaron Copland who suggested he go to Paris and study with another composer named Nadia Boulanger. It's hard to go wrong after starting a career with names like that on your resume. Oh, but let's add one more shall we?? After returning to the US, Harris eventually meets Serge Koussevitzky, another career maker at the time, who then premiered and recorded Harris' _Symphony 1933_ , and THAT became the first commercially recorded American symphony.- Another thing to know about this man is that he could NOT sit still for very long. In chronological order, he taught at Juilliard, Westminster, Cornell, Stanford, Colorado College, University of Utah, Peabody College for Teachers in Nashville, Pennsylvania College for Women, Southern Illinois University, Indiana University, the Inter-American University in Puerto Rico, UCLA, and finally Cal State University, Los Angeles. And that's just the university positions!- Harris had a massive composition portfolio, and while he covered most of the bases—vocal, chamber, ballet, concertos, etc.—his main focus was clearly on the symphonic form. Harris numbered 13 symphonies (although, out of superstition, he numbered the last 14 to avoid the number 13), plus the _Three Symphonic Essays_, _American Portrait_, _Our Heritage_ (which he apparently only finished one movement for), a Symphony for High School Orchestra, _American Symphony_ for jazz band, Choral Symphony for chorus and orchestra, and the _Walt Whitman Symphony_ for solo baritone, chorus and orchestra. Oh! Also a _Symphony for Voices_, an entirely a cappella work. So, I'd say, he was hooked on the symphony.- Now, though there is STILL time left for this to happen to me… I have never had the honor of being properly called a genius (uh, by anyone other than my mother…). Roy Harris, on the other hand, did have this dubious fortune. Paraphrasing a famous quote of Robert Schumann praising the talents of an up and coming Frédéric Chopin, one Arthur Farwell said of Roy Harris, quote “Gentlemen, a genius—but keep your hats on!” Later, the equally great Walter Piston would counter by complimenting Harris for quote “surviving the trying experience of having been hailed as a genius.” It would seem that Roy Harris had a strong effect on critics and contemporaries alike. One possible reason the label of genius did not effect Harris negatively was his ability to stay so presently in the moment, maintaining an intense focus on the matter at hand. Certainly an aspect that reveals itself in his compositions, and a characteristic that makes for long days and short years.- Ok, one strange story I need to tell you is about he and his second wife. In 1936, Harris married Beula Duffey. Duffey was already on her way to a spectacular career as a pianist, having been hailed as a prodigy in Canada, and then as the youngest faculty member at Juilliard. The interesting part is that Harris convinced her to changer her FIRST name to Johana, after the great Johan Sebastian Bach! From what I could find, this was welcomed and uncontentious. It seems to have been a business and career decision as much as anything else. I just can't quite imagine starting that conversation: “Darling, I love you, I love everything about you… it's just, your name… I don't like it, and no one else will either. Instead, let's name you after a VERY dead male composer. What do you say??”- It turns out that at first Harris only numbered the symphonies that used the traditional symphonic orchestra. But, then he wrote the _Abraham Lincoln Symphony_ for piano, percussion, and brass, and numbered it the 10th, so that tradition ended.- Harris' approach to the various aspects of symphonic composition is articulated nicely by a biographer of his, Dan Stehman. He says quote “Formal procedures… he employs in the symphonies are virtually the same as in his miscellaneous orchestral and band works, and his chamber compositions, for that matter. Acquaintance with all of Harris' works in the genre reveals that his most consistent view appears to have been of the symphony as a work of greater seriousness, emotional variety, intensity of expression, and length than was the norm for him. Though… the elements which went into their creation were formed and treated quite similarly to those employed in other works, the materials of the symphonies are sometimes greater in number, richer in complexity, and accorded a more elaborate development. with especially prominent use of the various types of motivic working out… Occasionally ideas recur in a thematic sense within a symphony… thus providing more of a sense of large scale unity than one finds… in the miscellaneous pieces. … [T]he quality of the ideas in the symphonies, particularly the long melodies, is sometimes more distinctive than that found elsewhere in Harris's oevre.- So, Symphony 1933, Symphony No. 1, pieced together from bits he had already composed. Yet it isn't necessary to know that to enjoy the work. The initiation of this piece came about, as I mentioned earlier, via Aaron Copland introducing Harris to Koussevitzky, who was at the time not only the music director of the Boston Symphony Orchestra, he premiered works by so many American composers he was basically a career maker. According to Harris' memory, Koussevitzky said “Copland told me you are the American Mussorgsky. You must write for me a big symphony from the West. I will play.” Excuse my Russian accent, but that's a pretty cool endorsement from someone that, at the time, was likely destined to make your career, right?- Now to the symphony itself. These excerpts were performed by the Louisville Orchestra under the direction of Jorge Mester.- Symphony 1933 is in 3 movements: Allegro, Andante, and Maestoso; nothing special there. What Harris does from the very beginning is establish a rhythmic theme, one that is both inherently contrasting, alternating triplets against 8ths, but is presented as triumphant and at times aggressive. At the very opening the timpani presents the rhythm and the winds furiously wind through the melodic material that will be developed, followed by a brass variation. (Play opening 45 seconds)- The middle section of this movement shows characteristic melodic writing by Harris, using a soaring string line supported by regularly interjected rhythmic motives reminiscent of the opening energy beneath.- In the final section, where the opening material returns, Harris shows his ability to play with layers and space. In this excerpt string and timpani punctuate a heavy rhythmic figure, the woodwinds play a sustained, menacing melodic line in unison, and the brass begin a fugal conversation over the top. The effect is powerful!- In the second movement, Harris' lush melodic writing is fully featured. Another aspect is the harmonic writing, that is in some ways key to the uniquely American sound that is starting develop. Here, Harris uses a tightly dense harmonic accompaniment that moves rhythmically in sync with the moldy, and has many surprising chromatic twists as it moves along.- The last movement, while not overwhelming in energy, is constantly building interest and tension. In fact, Harris does this with a motive based only on 3 notes! Throughout out the movement he morphs those 3 notes in so many fashions you likely would not notice without it being pointed out, and that's the point! - Here is the very opening with the 3 note motive- Another version with a considerable amount of variation and energy this time, and more and more rhythmic complexity as it goes along- In a moment of calmness, Harris varies the motive in a much more horizontal, lyrical fashion.- Finally, Harris falls into repetitive mode to build up some energy.- This piece is easy to listen to and take in. It is not very long, but packs quite a mental punch. Though it was his first symphony, Harris does show compositional growth and maturity here. It is more than worth your time to listen to and enjoy. I can almost guarantee you've rarely heard another piece like it.Music:Symphony No. 1 '1933'By: Roy HarrisPerformed By: The Louisville Orchestra, Jorge MesterSupport this podcast at — https://redcircle.com/american-muse-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Jordan and I continue our conversation on how adverse experiences shape who we are as adults