Podcasts about partita no

Play Episode Listen Later Apr 27, 2024 0:57

video solo violin johann sebastian bach giga audio files preludio scorch e major solo violin partita no loure

Preludio from Partita No.3 in E major for violin solo - Mp3 audio file

Building your house on the word from God

Play Episode Listen Later Mar 28, 2024 3:33

video solo violin johann sebastian bach audio files preludio scorch e major solo violin partita no loure

The children of Israel are with their backs to the Red Sea and Pharaoh and all his chariots are coming straight toward them. ? No way to escape. ? Except for what God does.

Play Episode Listen Later Aug 11, 2023 28:15

Jesus Ministries, Joan Boney ... Exodus 13 17 And it came to pass, when Pharaoh had let the people go, that God led them not through the way of the land of the Philistines, although that was near; for God said, Lest peradventure the people repent when they see war, and they return to Egypt: 18 But God led the people about, through the way of the wilderness of the Red sea: and the children of Israel went up harnessed out of the land of Egypt. 19 And Moses took the bones of Joseph with him: for he had straitly sworn the children of Israel, saying, God will surely visit you; and ye shall carry up my bones away hence with you. 20 And they took their journey from Succoth, and encamped in Etham, in the edge of the wilderness. 21 And the LORD went before them by day in a pillar of a cloud, to lead them the way; and by night in a pillar of fire, to give them light; to go by day and night: 22 He took not away the pillar of the cloud by day, nor the pillar of fire by night, from before the people. Exodus 14 1 And the LORD spake unto Moses, saying, 2 Speak unto the children of Israel, that they turn and encamp before Pihahiroth, between Migdol and the sea, over against Baalzephon: before it shall ye encamp by the sea. 3 For Pharaoh will say of the children of Israel, They are entangled in the land, the wilderness hath shut them in. 4 And I will harden Pharaoh's heart, that he shall follow after them; and I will be honoured upon Pharaoh, and upon all his host; that the Egyptians may know that I am the LORD. And they did so.

07 02 2023 - Sarabande From Violin Partita No. 2 In D Minor, BWV 1004

Snowmass Chapel

Play Episode Listen Later Jul 2, 2023 2:36

07 02 2023 - Sarabande From Violin Partita No. 2 In D Minor, BWV 1004 by Snowmass Chapel

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Johann Sebastian Bach - Violin Partita No. 3: Gavotte

YourClassical Daily Download

Play Episode Listen Later Mar 27, 2023 3:03

Johann Sebastian Bach - Violin Partita No. 3: Gavotte Ilya Kaler, violin More info about today's track: Naxos 8.570277-78 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

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85. 音乐评论与乐评人的诞生

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Play Episode Listen Later Jan 3, 2023 40:26

上一期咱们聊到十九世纪音乐自由市场的形成，音乐家们开始了自己独立的职业生涯。那么既然是面向公众，就自然有成为经典的需要。音乐史发展到这一步，音乐评论和乐评人角色终于初次登上了历史舞台。伴随着经典的诞生，音乐学院也随之兴起。一切的一切，都开始有了今天音乐行业的雏形了。包含曲目：0:26- Symphony No. 9 in C, D.944 - "The Great" - 1. Andante - Allegro ma non troppo (C大调第9号交响曲，作品944“伟大” - 第一乐章行板 - 不过分的快板)14:28- Partita No. 2 in D Minor, BWV 1004: V. Chaconne (Transcribed by Ferruccio Busoni)25:50- Piano Concerto No. 2 in B-Flat Major, Op. 83 - Andante (Live at Grosser Saal, Musikverein, Vienna / 1984)

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Episode 157: “See Emily Play” by The Pink Floyd

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later Nov 8, 2022

Episode one hundred and fifty-seven of A History of Rock Music in Five Hundred Songs looks at “See Emily Play", the birth of the UK underground, and the career of Roger Barrett, known as Syd. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "First Girl I Loved" by the Incredible String Band. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this time, due to the number of Pink Floyd songs. I referred to two biographies of Barrett in this episode -- A Very Irregular Head by Rob Chapman is the one I would recommend, and the one whose narrative I have largely followed. Some of the information has been superseded by newer discoveries, but Chapman is almost unique in people writing about Barrett in that he actually seems to care about the facts and try to get things right rather than make up something more interesting. Crazy Diamond by Mike Watkinson and Pete Anderson is much less reliable, but does have quite a few interview quotes that aren't duplicated by Chapman. Information about Joe Boyd comes from Boyd's book White Bicycles. In this and future episodes on Pink Floyd I'm also relying on Nick Mason's Inside Out: A Personal History of Pink Floyd and Pink Floyd: All the Songs by Jean-Michel Guesdon and Philippe Margotin. The compilation Relics contains many of the most important tracks from Barrett's time with Pink Floyd, while Piper at the Gates of Dawn is his one full album with them. Those who want a fuller history of his time with the group will want to get Piper and also the box set Cambridge St/ation 1965-1967. Barrett only released two solo albums during his career. They're available as a bundle here. Completists will also want the rarities and outtakes collection Opel. ERRATA: I talk about “Interstellar Overdrive” as if Barrett wrote it solo. The song is credited to all four members, but it was Barrett who came up with the riff I talk about. And annoyingly, given the lengths I went to to deal correctly with Barrett's name, I repeatedly refer to "Dave" Gilmour, when Gilmour prefers David. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A note before I begin -- this episode deals with drug use and mental illness, so anyone who might be upset by those subjects might want to skip this one. But also, there's a rather unique problem in how I deal with the name of the main artist in the story today. The man everyone knows as Syd Barrett was born Roger Barrett, used that name with his family for his whole life, and in later years very strongly disliked being called "Syd", yet everyone other than his family called him that at all times until he left the music industry, and that's the name that appears on record labels, including his solo albums. I don't believe it's right to refer to people by names they choose not to go by themselves, but the name Barrett went by throughout his brief period in the public eye was different from the one he went by later, and by all accounts he was actually distressed by its use in later years. So what I'm going to do in this episode is refer to him as "Roger Barrett" when a full name is necessary for disambiguation or just "Barrett" otherwise, but I'll leave any quotes from other people referring to "Syd" as they were originally phrased. In future episodes on Pink Floyd, I'll refer to him just as Barrett, but in episodes where I discuss his influence on other artists, I will probably have to use "Syd Barrett" because otherwise people who haven't listened to this episode won't know what on Earth I'm talking about. Anyway, on with the show. “It's gone!” sighed the Rat, sinking back in his seat again. “So beautiful and strange and new. Since it was to end so soon, I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worth while but just to hear that sound once more and go on listening to it for ever. No! There it is again!” he cried, alert once more. Entranced, he was silent for a long space, spellbound. “Now it passes on and I begin to lose it,” he said presently. “O Mole! the beauty of it! The merry bubble and joy, the thin, clear, happy call of the distant piping! Such music I never dreamed of, and the call in it is stronger even than the music is sweet! Row on, Mole, row! For the music and the call must be for us.” That's a quote from a chapter titled "The Piper at the Gates of Dawn" from the classic children's book The Wind in the Willows -- a book which for most of its length is a fairly straightforward story about anthropomorphic animals having jovial adventures, but which in that one chapter has Rat and Mole suddenly encounter the Great God Pan and have a hallucinatory, transcendental experience caused by his music, one so extreme it's wiped from their minds, as they simply cannot process it. The book, and the chapter, was a favourite of Roger Barrett, a young child born in Cambridge in 1946. Barrett came from an intellectual but not especially bookish family. His father, Dr. Arthur Barrett, was a pathologist -- there's a room in Addenbrooke's Hospital named after him -- but he was also an avid watercolour painter, a world-leading authority on fungi, and a member of the Cambridge Philharmonic Society who was apparently an extraordinarily good singer; while his mother Winifred was a stay-at-home mother who was nonetheless very active in the community, organising a local Girl Guide troupe. They never particularly encouraged their family to read, but young Roger did particularly enjoy the more pastoral end of the children's literature of the time. As well as the Wind in the Willows he also loved Alice in Wonderland, and the Little Grey Men books -- a series of stories about tiny gnomes and their adventures in the countryside. But his two big passions were music and painting. He got his first ukulele at age eleven, and by the time his father died, just before Roger's sixteenth birthday, he had graduated to playing a full-sized guitar. At the time his musical tastes were largely the same as those of any other British teenager -- he liked Chubby Checker, for example -- though he did have a tendency to prefer the quirkier end of things, and some of the first songs he tried to play on the guitar were those of Joe Brown: [Excerpt: Joe Brown, "I'm Henry VIII I Am"] Barrett grew up in Cambridge, and for those who don't know it, Cambridge is an incubator of a very particular kind of eccentricity. The university tends to attract rather unworldly intellectual overachievers to the city -- people who might not be able to survive in many other situations but who can thrive in that one -- and every description of Barrett's father suggests he was such a person -- Barrett's sister Rosemary has said that she believes that most of the family were autistic, though whether this is a belief based on popular media portrayals or a deeper understanding I don't know. But certainly Cambridge is full of eccentric people with remarkable achievements, and such people tend to have children with a certain type of personality, who try simultaneously to live up to and rebel against expectations of greatness that come from having parents who are regarded as great, and to do so with rather less awareness of social norms than the typical rebel has. In the case of Roger Barrett, he, like so many others of his generation, was encouraged to go into the sciences -- as indeed his father had, both in his career as a pathologist and in his avocation as a mycologist. The fifties and sixties were a time, much like today, when what we now refer to as the STEM subjects were regarded as new and exciting and modern. But rather than following in his father's professional footsteps, Roger Barrett instead followed his hobbies. Dr. Barrett was a painter and musician in his spare time, and Roger was to turn to those things to earn his living. For much of his teens, it seemed that art would be the direction he would go in. He was, everyone agrees, a hugely talented painter, and he was particularly noted for his mastery of colours. But he was also becoming more and more interested in R&B music, especially the music of Bo Diddley, who became his new biggest influence: [Excerpt: Bo Diddley, "Who Do You Love?"] He would often spend hours with his friend Dave Gilmour, a much more advanced guitarist, trying to learn blues riffs. By this point Barrett had already received the nickname "Syd". Depending on which story you believe, he either got it when he started attending a jazz club where an elderly jazzer named Sid Barrett played, and the people were amused that their youngest attendee, like one of the oldest, was called Barrett; or, more plausibly, he turned up to a Scout meeting once wearing a flat cap rather than the normal scout beret, and he got nicknamed "Sid" because it made him look working-class and "Sid" was a working-class sort of name. In 1962, by the time he was sixteen, Barrett joined a short-lived group called Geoff Mott and the Mottoes, on rhythm guitar. The group's lead singer, Geoff Mottlow, would go on to join a band called the Boston Crabs who would have a minor hit in 1965 with a version of the Coasters song "Down in Mexico": [Excerpt: The Boston Crabs, "Down in Mexico"] The bass player from the Mottoes, Tony Sainty, and the drummer Clive Welham, would go on to form another band, The Jokers Wild, with Barrett's friend Dave Gilmour. Barrett also briefly joined another band, Those Without, but his time with them was similarly brief. Some sources -- though ones I consider generally less reliable -- say that the Mottoes' bass player wasn't Tony Sainty, but was Roger Waters, the son of one of Barrett's teachers, and that one of the reasons the band split up was that Waters had moved down to London to study architecture. I don't think that's the case, but it's definitely true that Barrett knew Waters, and when he moved to London himself the next year to go to Camberwell Art College, he moved into a house where Waters was already living. Two previous tenants at the same house, Nick Mason and Richard Wright, had formed a loose band with Waters and various other amateur musicians like Keith Noble, Shelagh Noble, and Clive Metcalfe. That band was sometimes known as the Screaming Abdabs, The Megadeaths, or The Tea Set -- the latter as a sly reference to slang terms for cannabis -- but was mostly known at first as Sigma 6, named after a manifesto by the novelist Alexander Trocchi for a kind of spontaneous university. They were also sometimes known as Leonard's Lodgers, after the landlord of the home that Barrett was moving into, Mike Leonard, who would occasionally sit in on organ and would later, as the band became more of a coherent unit, act as a roadie and put on light shows behind them -- Leonard was himself very interested in avant-garde and experimental art, and it was his idea to play around with the group's lighting. By the time Barrett moved in with Waters in 1964, the group had settled on the Tea Set name, and consisted of Waters on bass, Mason on drums, Wright on keyboards, singer Chris Dennis, and guitarist Rado Klose. Of the group, Klose was the only one who was a skilled musician -- he was a very good jazz guitarist, while the other members were barely adequate. By this time Barrett's musical interests were expanding to include folk music -- his girlfriend at the time talked later about him taking her to see Bob Dylan on his first UK tour and thinking "My first reaction was seeing all these people like Syd. It was almost as if every town had sent one Syd Barrett there. It was my first time seeing people like him." But the music he was most into was the blues. And as the Tea Set were turning into a blues band, he joined them. He even had a name for the new band that would make them more bluesy. He'd read the back of a record cover which had named two extremely obscure blues musicians -- musicians he may never even have heard. Pink Anderson: [Excerpt: Pink Anderson, "Boll Weevil"] And Floyd Council: [Excerpt: Floyd Council, "Runaway Man Blues"] Barrett suggested that they put together the names of the two bluesmen, and presumably because "Anderson Council" didn't have quite the right ring, they went for The Pink Floyd -- though for a while yet they would sometimes still perform as The Tea Set, and they were sometimes also called The Pink Floyd Sound. Dennis left soon after Barrett joined, and the new five-piece Pink Floyd Sound started trying to get more gigs. They auditioned for Ready Steady Go! and were turned down, but did get some decent support slots, including for a band called the Tridents: [Excerpt: The Tridents, "Tiger in Your Tank"] The members of the group were particularly impressed by the Tridents' guitarist and the way he altered his sound using feedback -- Barrett even sent a letter to his girlfriend with a drawing of the guitarist, one Jeff Beck, raving about how good he was. At this point, the group were mostly performing cover versions, but they did have a handful of originals, and it was these they recorded in their first demo sessions in late 1964 and early 1965. They included "Walk With Me Sydney", a song written by Roger Waters as a parody of "Work With Me Annie" and "Dance With Me Henry" -- and, given the lyrics, possibly also Hank Ballard's follow-up "Henry's Got Flat Feet (Can't Dance No More) and featuring Rick Wright's then-wife Juliette Gale as Etta James to Barrett's Richard Berry: [Excerpt: The Tea Set, "Walk With Me Sydney"] And four songs by Barrett, including one called "Double-O Bo" which was a Bo Diddley rip-off, and "Butterfly", the most interesting of these early recordings: [Excerpt: The Tea Set, "Butterfly"] At this point, Barrett was very unsure of his own vocal abilities, and wrote a letter to his girlfriend saying "Emo says why don't I give up 'cos it sounds horrible, and I would but I can't get Fred to join because he's got a group (p'raps you knew!) so I still have to sing." "Fred" was a nickname for his old friend Dave Gilmour, who was playing in his own band, Joker's Wild, at this point. Summer 1965 saw two important events in the life of the group. The first was that Barrett took LSD for the first time. The rest of the group weren't interested in trying it, and would indeed generally be one of the more sober bands in the rock business, despite the reputation their music got. The other members would for the most part try acid once or twice, around late 1966, but generally steer clear of it. Barrett, by contrast, took it on a very regular basis, and it would influence all the work he did from that point on. The other event was that Rado Klose left the group. Klose was the only really proficient musician in the group, but he had very different tastes to the other members, preferring to play jazz to R&B and pop, and he was also falling behind in his university studies, and decided to put that ahead of remaining in the band. This meant that the group members had to radically rethink the way they were making music. They couldn't rely on instrumental proficiency, so they had to rely on ideas. One of the things they started to do was use echo. They got primitive echo devices and put both Barrett's guitar and Wright's keyboard through them, allowing them to create new sounds that hadn't been heard on stage before. But they were still mostly doing the same Slim Harpo and Bo Diddley numbers everyone else was doing, and weren't able to be particularly interesting while playing them. But for a while they carried on doing the normal gigs, like a birthday party they played in late 1965, where on the same bill was a young American folk singer named Paul Simon, and Joker's Wild, the band Dave Gilmour was in, who backed Simon on a version of "Johnny B. Goode". A couple of weeks after that party, Joker's Wild went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] But The Pink Floyd Sound weren't as musically tight as Joker's Wild, and they couldn't make a living as a cover band even if they wanted to. They had to do something different. Inspiration then came from a very unexpected source. I mentioned earlier that one of the names the group had been performing under had been inspired by a manifesto for a spontaneous university by the writer Alexander Trocchi. Trocchi's ideas had actually been put into practice by an organisation calling itself the London Free School, based in Notting Hill. The London Free School was an interesting mixture of people from what was then known as the New Left, but who were already rapidly aging, the people who had been the cornerstone of radical campaigning in the late fifties and early sixties, who had run the Aldermaston marches against nuclear weapons and so on, and a new breed of countercultural people who in a year or two would be defined as hippies but at the time were not so easy to pigeonhole. These people were mostly politically radical but very privileged people -- one of the founder members of the London Free School was Peter Jenner, who was the son of a vicar and the grandson of a Labour MP -- and they were trying to put their radical ideas into practice. The London Free School was meant to be a collective of people who would help each other and themselves, and who would educate each other. You'd go to the collective wanting to learn how to do something, whether that's how to improve the housing in your area or navigate some particularly difficult piece of bureaucracy, or how to play a musical instrument, and someone who had that skill would teach you how to do it, while you hopefully taught them something else of value. The London Free School, like all such utopian schemes, ended up falling apart, but it had a wider cultural impact than most such schemes. Britain's first underground newspaper, the International Times, was put together by people involved in the Free School, and the annual Notting Hill Carnival, which is now one of the biggest outdoor events in Britain every year with a million attendees, came from the merger of outdoor events organised by the Free School with older community events. A group of musicians called AMM was associated with many of the people involved in the Free School. AMM performed totally improvised music, with no structure and no normal sense of melody and harmony: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] Keith Rowe, the guitarist in AMM, wanted to find his own technique uninfluenced by American jazz guitarists, and thought of that in terms that appealed very strongly to the painterly Barrett, saying "For the Americans to develop an American school of painting, they somehow had to ditch or lose European easel painting techniques. They had to make a break with the past. What did that possibly mean if you were a jazz guitar player? For me, symbolically, it was Pollock laying the canvas on the floor, which immediately abandons European easel technique. I could see that by laying the canvas down, it became inappropriate to apply easel techniques. I thought if I did that with a guitar, I would just lose all those techniques, because they would be physically impossible to do." Rowe's technique-free technique inspired Barrett to make similar noises with his guitar, and to think less in terms of melody and harmony than pure sound. AMM's first record came out in 1966. Four of the Free School people decided to put together their own record label, DNA, and they got an agreement with Elektra Records to distribute its first release -- Joe Boyd, the head of Elektra in the UK, was another London Free School member, and someone who had plenty of experience with disruptive art already, having been on the sound engineering team at the Newport Folk Festival when Dylan went electric. AMM went into the studio and recorded AMMMusic: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] After that came out, though, Peter Jenner, one of the people who'd started the label, came to a realisation. He said later "We'd made this one record with AMM. Great record, very seminal, seriously avant-garde, but I'd started adding up and I'd worked out that the deal we had, we got two percent of retail, out of which we, the label, had to pay for recording costs and pay ourselves. I came to the conclusion that we were going to have to sell a hell of a lot of records just to pay the recording costs, let alone pay ourselves any money and build a label, so I realised we had to have a pop band because pop bands sold a lot of records. It was as simple as that and I was as naive as that." Jenner abandoned DNA records for the moment, and he and his friend Andrew King decided they were going to become pop managers. and they found The Pink Floyd Sound playing at an event at the Marquee, one of a series of events that were variously known as Spontaneous Underground and The Trip. Other participants in those events included Soft Machine; Mose Allison; Donovan, performing improvised songs backed by sitar players; Graham Bond; a performer who played Bach pieces while backed by African drummers; and The Poison Bellows, a poetry duo consisting of Spike Hawkins and Johnny Byrne, who may of all of these performers be the one who other than Pink Floyd themselves has had the most cultural impact in the UK -- after writing the exploitation novel Groupie and co-writing a film adaptation of Spike Milligan's war memoirs, Byrne became a TV screenwriter, writing many episodes of Space: 1999 and Doctor Who before creating the long-running TV series Heartbeat. Jenner and King decided they wanted to sign The Pink Floyd Sound and make records with them, and the group agreed -- but only after their summer holidays. They were all still students, and so they dispersed during the summer. Waters and Wright went on holiday to Greece, where they tried acid for the first of only a small number of occasions and were unimpressed, while Mason went on a trip round America by Greyhound bus. Barrett, meanwhile, stayed behind, and started writing more songs, encouraged by Jenner, who insisted that the band needed to stop relying on blues covers and come up with their own material, and who saw Barrett as the focus of the group. Jenner later described them as "Four not terribly competent musicians who managed between them to create something that was extraordinary. Syd was the main creative drive behind the band - he was the singer and lead guitarist. Roger couldn't tune his bass because he was tone deaf, it had to be tuned by Rick. Rick could write a bit of a tune and Roger could knock out a couple of words if necessary. 'Set the Controls for the Heart of the Sun' was the first song Roger ever wrote, and he only did it because Syd encouraged everyone to write. Syd was very hesitant about his writing, but when he produced these great songs everyone else thought 'Well, it must be easy'" Of course, we know this isn't quite true -- Waters had written "Walk with me Sydney" -- but it is definitely the case that everyone involved thought of Barrett as the main creative force in the group, and that he was the one that Jenner was encouraging to write new material. After the summer holidays, the group reconvened, and one of their first actions was to play a benefit for the London Free School. Jenner said later "Andrew King and myself were both vicars' sons, and we knew that when you want to raise money for the parish you have to have a social. So in a very old-fashioned way we said 'let's put on a social'. Like in the Just William books, like a whist drive. We thought 'You can't have a whist drive. That's not cool. Let's have a band. That would be cool.' And the only band we knew was the band I was starting to get involved with." After a couple of these events went well, Joe Boyd suggested that they make those events a regular club night, and the UFO Club was born. Jenner and King started working on the light shows for the group, and then bringing in other people, and the light show became an integral part of the group's mystique -- rather than standing in a spotlight as other groups would, they worked in shadows, with distorted kaleidoscopic lights playing on them, distancing themselves from the audience. The highlight of their sets was a long piece called "Interstellar Overdrive", and this became one of the group's first professional recordings, when they went into the studio with Joe Boyd to record it for the soundtrack of a film titled Tonite Let's All Make Love in London. There are conflicting stories about the inspiration for the main riff for "Interstellar Overdrive". One apparent source is the riff from Love's version of the Bacharach and David song "My Little Red Book". Depending on who you ask, either Barrett was obsessed with Love's first album and copied the riff, or Peter Jenner tried to hum him the riff and Barrett copied what Jenner was humming: [Excerpt: Love, "My Little Red Book"] More prosaically, Roger Waters has always claimed that the main inspiration was from "Old Ned", Ron Grainer's theme tune for the sitcom Steptoe and Son (which for American listeners was remade over there as Sanford and Son): [Excerpt: Ron Grainer, "Old Ned"] Of course it's entirely possible, and even likely, that Barrett was inspired by both, and if so that would neatly sum up the whole range of Pink Floyd's influences at this point. "My Little Red Book" was a cover by an American garage-psych/folk-rock band of a hit by Manfred Mann, a group who were best known for pop singles but were also serious blues and jazz musicians, while Steptoe and Son was a whimsical but dark and very English sitcom about a way of life that was slowly disappearing. And you can definitely hear both influences in the main riff of the track they recorded with Boyd: [Excerpt: The Pink Floyd, "Interstellar Overdrive"] "Interstellar Overdrive" was one of two types of song that The Pink Floyd were performing at this time -- a long, extended, instrumental psychedelic excuse for freaky sounds, inspired by things like the second disc of Freak Out! by the Mothers of Invention. When they went into the studio again with Boyd later in January 1967, to record what they hoped would be their first single, they recorded two of the other kind of songs -- whimsical story songs inspired equally by the incidents of everyday life and by children's literature. What became the B-side, "Candy and a Currant Bun", was based around the riff from "Smokestack Lightnin'" by Howlin' Wolf: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] That song had become a favourite on the British blues scene, and was thus the inspiration for many songs of the type that get called "quintessentially English". Ray Davies, who was in many ways the major songwriter at this time who was closest to Barrett stylistically, would a year later use the riff for the Kinks song "Last of the Steam-Powered Trains", but in this case Barrett had originally written a song titled "Let's Roll Another One", about sexual longing and cannabis. The lyrics were hastily rewritten in the studio to remove the controversial drug references-- and supposedly this caused some conflict between Barrett and Waters, with Waters pushing for the change, while Barrett argued against it, though like many of the stories from this period this sounds like the kind of thing that gets said by people wanting to push particular images of both men. Either way, the lyric was changed to be about sweet treats rather than drugs, though the lascivious elements remained in. And some people even argue that there was another lyric change -- where Barrett sings "walk with me", there's a slight "f" sound in his vocal. As someone who does a lot of microphone work myself, it sounds to me like just one of those things that happens while recording, but a lot of people are very insistent that Barrett is deliberately singing a different word altogether: [Excerpt: The Pink Floyd, "Candy and a Currant Bun"] The A-side, meanwhile, was inspired by real life. Both Barrett and Waters had mothers who used to take in female lodgers, and both had regularly had their lodgers' underwear stolen from washing lines. While they didn't know anything else about the thief, he became in Barrett's imagination a man who liked to dress up in the clothing after he stole it: [Excerpt: The Pink Floyd, "Arnold Layne"] After recording the two tracks with Joe Boyd, the natural assumption was that the record would be put out on Elektra, the label which Boyd worked for in the UK, but Jac Holzman, the head of Elektra records, wasn't interested, and so a bidding war began for the single, as by this point the group were the hottest thing in London. For a while it looked like they were going to sign to Track Records, the label owned by the Who's management, but in the end EMI won out. Right as they signed, the News of the World was doing a whole series of articles about pop stars and their drug use, and the last of the articles talked about The Pink Floyd and their association with LSD, even though they hadn't released a record yet. EMI had to put out a press release saying that the group were not psychedelic, insisting"The Pink Floyd are not trying to create hallucinatory effects in their audience." It was only after getting signed that the group became full-time professionals. Waters had by this point graduated from university and was working as a trainee architect, and quit his job to become a pop star. Wright dropped out of university, but Mason and Barrett took sabbaticals. Barrett in particular seems to have seen this very much as a temporary thing, talking about how he was making so much money it would be foolish not to take the opportunity while it lasted, but how he was going to resume his studies in a year. "Arnold Layne" made the top twenty, and it would have gone higher had the pirate radio station Radio London, at the time the single most popular radio station when it came to pop music, not banned the track because of its sexual content. However, it would be the only single Joe Boyd would work on with the group. EMI insisted on only using in-house producers, and so while Joe Boyd would go on to a great career as a producer, and we'll see him again, he was replaced with Norman Smith. Smith had been the chief engineer on the Beatles records up to Rubber Soul, after which he'd been promoted to being a producer in his own right, and Geoff Emerick had taken over. He also had aspirations to pop stardom himself, and a few years later would have a transatlantic hit with "Oh Babe, What Would You Say?" under the name Hurricane Smith: [Excerpt: Hurricane Smith, "Oh Babe, What Would You Say?"] Smith's production of the group would prove controversial among some of the group's longtime fans, who thought that he did too much to curtail their more experimental side, as he would try to get the group to record songs that were more structured and more commercial, and would cut down their improvisations into a more manageable form. Others, notably Peter Jenner, thought that Smith was the perfect producer for the group. They started work on their first album, which was mostly recorded in studio three of Abbey Road, while the Beatles were just finishing off work on Sgt Pepper in studio two. The album was titled The Piper at the Gates of Dawn, after the chapter from The Wind in the Willows, and other than a few extended instrumental showcases, most of the album was made up of short, whimsical, songs by Barrett that were strongly infused with imagery from late-Victorian and Edwardian children's books. This is one of the big differences between the British and American psychedelic scenes. Both the British and American undergrounds were made up of the same type of people -- a mixture of older radical activists, often Communists, who had come up in Britain in the Ban the Bomb campaigns and in America in the Civil Rights movement; and younger people, usually middle-class students with radical politics from a privileged background, who were into experimenting with drugs and alternative lifestyles. But the social situations were different. In America, the younger members of the underground were angry and scared, as their principal interest was in stopping the war in Vietnam in which so many of them were being killed. And the music of the older generation of the underground, the Civil Rights activists, was shot through with influence from the blues, gospel, and American folk music, with a strong Black influence. So that's what the American psychedelic groups played, for the most part, very bluesy, very angry, music, By contrast, the British younger generation of hippies were not being drafted to go to war, and mostly had little to complain about, other than a feeling of being stifled by their parents' generation's expectations. And while most of them were influenced by the blues, that wasn't the music that had been popular among the older underground people, who had either been listening to experimental European art music or had been influenced by Ewan MacColl and his associates into listening instead to traditional old English ballads, things like the story of Tam Lin or Thomas the Rhymer, where someone is spirited away to the land of the fairies: [Excerpt: Ewan MacColl, "Thomas the Rhymer"] As a result, most British musicians, when exposed to the culture of the underground over here, created music that looked back to an idealised childhood of their grandparents' generation, songs that were nostalgic for a past just before the one they could remember (as opposed to their own childhoods, which had taken place in war or the immediate aftermath of it, dominated by poverty, rationing, and bomb sites (though of course Barrett's childhood in Cambridge had been far closer to this mythic idyll than those of his contemporaries from Liverpool, Birmingham, Newcastle, or London). So almost every British musician who was making music that might be called psychedelic was writing songs that were influenced both by experimental art music and by pre-War popular song, and which conjured up images from older children's books. Most notably of course at this point the Beatles were recording songs like "Strawberry Fields Forever" and "Penny Lane" about places from their childhood, and taking lyrical inspiration from Victorian circus posters and the works of Lewis Carroll, but Barrett was similarly inspired. One of the books he loved most as a child was "The Little Grey Men" by BB, a penname for Denys Watkins-Pitchford. The book told the story of three gnomes, Baldmoney, Sneezewort, and Dodder, and their adventures on a boat when the fourth member of their little group, Cloudberry, who's a bit of a rebellious loner and more adventurous than the other three, goes exploring on his own and they have to go off and find him. Barrett's song "The Gnome" doesn't use any precise details from the book, but its combination of whimsy about a gnome named Grimble-gromble and a reverence for nature is very much in the mould of BB's work: [Excerpt: The Pink Floyd, "The Gnome"] Another huge influence on Barrett was Hillaire Belloc. Belloc is someone who is not read much any more, as sadly he is mostly known for the intense antisemitism in some of his writing, which stains it just as so much of early twentieth-century literature is stained, but he was one of the most influential writers of the early part of the twentieth century. Like his friend GK Chesterton he was simultaneously an author of Catholic apologia and a political campaigner -- he was a Liberal MP for a few years, and a strong advocate of an economic system known as Distributism, and had a peculiar mixture of very progressive and extremely reactionary ideas which resonated with a lot of the atmosphere in the British underground of the time, even though he would likely have profoundly disapproved of them. But Belloc wrote in a variety of styles, including poems for children, which are the works of his that have aged the best, and were a huge influence on later children's writers like Roald Dahl with their gleeful comic cruelty. Barrett's "Matilda Mother" had lyrics that were, other than the chorus where Barrett begs his mother to read him more of the story, taken verbatim from three poems from Belloc's Cautionary Tales for Children -- "Jim, Who Ran away from his Nurse, and was Eaten by a Lion", "Henry King (Who chewed bits of String, and was cut off in Dreadful Agonies)", and "Matilda (Who Told Lies and Was Burned to Death)" -- the titles of those give some idea of the kind of thing Belloc would write: [Excerpt: The Pink Floyd, "Matilda Mother (early version)"] Sadly for Barrett, Belloc's estate refused to allow permission for his poems to be used, and so he had to rework the lyrics, writing new fairy-tale lyrics for the finished version. Other sources of inspiration for lyrics came from books like the I Ching, which Barrett used for "Chapter 24", having bought a copy from the Indica Bookshop, the same place that John Lennon had bought The Psychedelic Experience, and there's been some suggestion that he was deliberately trying to copy Lennon in taking lyrical ideas from a book of ancient mystic wisdom. During the recording of Piper at the Gates of Dawn, the group continued playing live. As they'd now had a hit single, most of their performances were at Top Rank Ballrooms and other such venues around the country, on bills with other top chart groups, playing to audiences who seemed unimpressed or actively hostile. They also, though made two important appearances. The more well-known of these was at the 14-Hour Technicolor Dream, a benefit for International Times magazine with people including Yoko Ono, their future collaborator Ron Geesin, John's Children, Soft Machine, and The Move also performing. The 14-Hour Technicolor Dream is now largely regarded as *the* pivotal moment in the development of the UK counterculture, though even at the time some participants noted that there seemed to be a rift developing between the performers, who were often fairly straightforward beer-drinking ambitious young men who had latched on to kaftans and talk about enlightenment as the latest gimmick they could use to get ahead in the industry, and the audience who seemed to be true believers. Their other major performance was at an event called "Games for May -- Space Age Relaxation for the Climax of Spring", where they were able to do a full long set in a concert space with a quadrophonic sound system, rather than performing in the utterly sub-par environments most pop bands had to at this point. They came up with a new song written for the event, which became their second single, "See Emily Play". [Excerpt: The Pink Floyd, "See Emily Play"] Emily was apparently always a favourite name of Barrett's, and he even talked with one girlfriend about the possibility of naming their first child Emily, but the Emily of the song seems to have had a specific inspiration. One of the youngest attendees at the London Free School was an actual schoolgirl, Emily Young, who would go along to their events with her schoolfriend Anjelica Huston (who later became a well-known film star). Young is now a world-renowned artist, regarded as arguably Britain's greatest living stone sculptor, but at the time she was very like the other people at the London Free School -- she was from a very privileged background, her father was Wayland Young, 2nd Baron Kennet, a Labour Peer and minister who later joined the SDP. But being younger than the rest of the attendees, and still a little naive, she was still trying to find her own personality, and would take on attributes and attitudes of other people without fully understanding them, hence the song's opening lines, "Emily tries, but misunderstands/She's often inclined to borrow somebody's dream til tomorrow". The song gets a little darker towards the end though, and the image in the last verse, where she puts on a gown and floats down a river forever *could* be a gentle, pastoral, image of someone going on a boat ride, but it also could be a reference to two rather darker sources. Barrett was known to pick up imagery both from classic literature and from Arthurian legend, and so the lines inevitably conjure up both the idea of Ophelia drowning herself and of the Lady of Shallot in Tennyson's Arthurian poem, who is trapped in a tower but finds a boat, and floats down the river to Camelot but dies before the boat reaches the castle: [Excerpt: The Pink Floyd, "See Emily Play"] The song also evokes very specific memories of Barrett's childhood -- according to Roger Waters, the woods mentioned in the lyrics are meant to be woods in which they had played as children, on the road out of Cambridge towards the Gog and Magog Hills. The song was apparently seven minutes long in its earliest versions, and required a great deal of editing to get down to single length, but it was worth it, as the track made the top ten. And that was where the problems started. There are two different stories told about what happened to Roger Barrett over the next forty years, and both stories are told by people with particular agendas, who want particular versions of him to become the accepted truth. Both stories are, in the extreme versions that have been popularised, utterly incompatible with each other, but both are fairly compatible with the scanty evidence we have. Possibly the truth lies somewhere between them. In one version of the story, around this time Barrett had a total mental breakdown, brought on or exacerbated by his overuse of LSD and Mandrax (a prescription drug consisting of a mixture of the antihistamine diphenhydramine and the sedative methaqualone, which was marketed in the US under the brand-name Quaalude), and that from late summer 1967 on he was unable to lead a normal life, and spent the rest of his life as a burned-out shell. The other version of the story is that Barrett was a little fragile, and did have periods of mental illness, but for the most part was able to function fairly well. In this version of the story, he was neurodivergent, and found celebrity distressing, but more than that he found the whole process of working within commercial restrictions upsetting -- having to appear on TV pop shows and go on package tours was just not something he found himself able to do, but he was responsible for a whole apparatus of people who relied on him and his group for their living. In this telling, he was surrounded by parasites who looked on him as their combination meal-ticket-cum-guru, and was simply not suited for the role and wanted to sabotage it so he could have a private life instead. Either way, *something* seems to have changed in Barrett in a profound way in the early summer of 1967. Joe Boyd talks about meeting him after not having seen him for a few weeks, and all the light being gone from his eyes. The group appeared on Top of the Pops, Britain's top pop TV show, three times to promote "See Emily Play", but by the third time Barrett didn't even pretend to mime along with the single. Towards the end of July, they were meant to record a session for the BBC's Saturday Club radio show, but Barrett walked out of the studio before completing the first song. It's notable that Barrett's non-cooperation or inability to function was very much dependent on circumstance. He was not able to perform for Saturday Club, a mainstream pop show aimed at a mass audience, but gave perfectly good performances on several sessions for John Peel's radio show The Perfumed Garden, a show firmly aimed at Pink Floyd's own underground niche. On the thirty-first of July, three days after the Saturday Club walkout, all the group's performances for the next month were cancelled, due to "nervous exhaustion". But on the eighth of August, they went back into the studio, to record "Scream Thy Last Scream", a song Barrett wrote and which Nick Mason sang: [Excerpt: Pink Floyd, "Scream Thy Last Scream"] That was scheduled as the group's next single, but the record company vetoed it, and it wouldn't see an official release for forty-nine years. Instead they recorded another single, "Apples and Oranges": [Excerpt: Pink Floyd, "Apples and Oranges"] That was the last thing the group released while Barrett was a member. In November 1967 they went on a tour of the US, making appearances on American Bandstand and the Pat Boone Show, as well as playing several gigs. According to legend, Barrett was almost catatonic on the Pat Boone show, though no footage of that appears to be available anywhere -- and the same things were said about their performance on Bandstand, and when that turned up, it turned out Barrett seemed no more uncomfortable miming to their new single than any of the rest of the band, and was no less polite when Dick Clark asked them questions about hamburgers. But on shows on the US tour, Barrett would do things like detune his guitar so it just made clanging sounds, or just play a single note throughout the show. These are, again, things that could be taken in two different ways, and I have no way to judge which is the more correct. On one level, they could be a sign of a chaotic, disordered, mind, someone dealing with severe mental health difficulties. On the other, they're the kind of thing that Barrett was applauded and praised for in the confines of the kind of avant-garde underground audience that would pay to hear AMM or Yoko Ono, the kind of people they'd been performing for less than a year earlier, but which were absolutely not appropriate for a pop group trying to promote their latest hit single. It could be that Barrett was severely unwell, or it could just be that he wanted to be an experimental artist and his bandmates wanted to be pop stars -- and one thing absolutely everyone agrees is that the rest of the group were more ambitious than Barrett was. Whichever was the case, though, something had to give. They cut the US tour short, but immediately started another British package tour, with the Jimi Hendrix Experience, the Move, Amen Corner and the Nice. After that tour they started work on their next album, A Saucerful of Secrets. Where Barrett was the lead singer and principal songwriter on Piper at the Gates of Dawn, he only sings and writes one song on A Saucerful of Secrets, which is otherwise written by Waters and Wright, and only appears at all on two more of the tracks -- by the time it was released he was out of the group. The last song he tried to get the group to record was called "Have You Got it Yet?" and it was only after spending some time rehearsing it that the rest of the band realised that the song was a practical joke on them -- every time they played it, he would change the song around so they would mess up, and pretend they just hadn't learned the song yet. They brought in Barrett's old friend Dave Gilmour, initially to be a fifth member on stage to give the band some stability in their performances, but after five shows with the five-man lineup they decided just not to bother picking Barrett up, but didn't mention he was out of the group, to avoid awkwardness. At the time, Barrett and Rick Wright were flatmates, and Wright would actually lie to Barrett and say he was just going out to buy a packet of cigarettes, and then go and play gigs without him. After a couple of months of this, it was officially announced that Barrett was leaving the group. Jenner and King went with him, convinced that he was the real talent in the group and would have a solo career, and the group carried on with new management. We'll be looking at them more in future episodes. Barrett made a start at recording a solo album in mid-1968, but didn't get very far. Jenner produced those sessions, and later said "It seemed a good idea to go into the studio because I knew he had the songs. And he would sometimes play bits and pieces and you would think 'Oh that's great.' It was a 'he's got a bit of a cold today and it might get better' approach. It wasn't a cold -- and you knew it wasn't a cold -- but I kept thinking if he did the right things he'd come back to join us. He'd gone out and maybe he'd come back. That was always the analogy in my head. I wanted to make it feel friendly for him, and that where we were was a comfortable place and that he could come back and find himself again. I obviously didn't succeed." A handful of tracks from those sessions have since been released, including a version of “Golden Hair”, a setting by Barrett of a poem by James Joyce that he would later revisit: [Excerpt: Syd Barrett, “Golden Hair (first version)”] Eleven months later, he went back into the studio again, this time with producer Malcolm Jones, to record an album that later became The Madcap Laughs, his first solo album. The recording process for the album has been the source of some controversy, as initially Jones was producing the whole album, and they were working in a way that Barrett never worked before. Where previously he had cut backing tracks first and only later overdubbed his vocals, this time he started by recording acoustic guitar and vocals, and then overdubbed on top of that. But after several sessions, Jones was pulled off the album, and Gilmour and Waters were asked to produce the rest of the sessions. This may seem a bit of a callous decision, since Gilmour was the person who had replaced Barrett in his group, but apparently the two of them had remained friends, and indeed Gilmour thought that Barrett had only got better as a songwriter since leaving the band. Where Malcolm Jones had been trying, by his account, to put out something that sounded like a serious, professional, record, Gilmour and Waters seemed to regard what they were doing more as producing a piece of audio verite documentary, including false starts and studio chatter. Jones believed that this put Barrett in a bad light, saying the outtakes "show Syd, at best as out of tune, which he rarely was, and at worst as out of control (which, again, he never was)." Gilmour and Waters, on the other hand, thought that material was necessary to provide some context for why the album wasn't as slick and professional as some might have hoped. The eventual record was a hodge-podge of different styles from different sessions, with bits from the Jenner sessions, the Jones sessions, and the Waters and Gilmour sessions all mixed together, with some tracks just Barrett badly double-tracking himself with an acoustic guitar, while other tracks feature full backing by Soft Machine. However, despite Jones' accusations that the album was more-or-less sabotaged by Gilmour and Waters, the fact remains that the best tracks on the album are the ones Barrett's former bandmates produced, and there are some magnificent moments on there. But it's a disturbing album to listen to, in the same way other albums by people with clear talent but clear mental illness are, like Skip Spence's Oar, Roky Erickson's later work, or the Beach Boys Love You. In each case, the pleasure one gets is a real pleasure from real aesthetic appreciation of the work, but entangled with an awareness that the work would not exist in that form were the creator not suffering. The pleasure doesn't come from the suffering -- these are real artists creating real art, not the kind of outsider art that is really just a modern-day freak-show -- but it's still inextricable from it: [Excerpt: Syd Barrett, "Dark Globe"] The Madcap Laughs did well enough that Barrett got to record a follow-up, titled simply Barrett. This one was recorded over a period of only a handful of months, with Gilmour and Rick Wright producing, and a band consisting of Gilmour, Wright, and drummer Jerry Shirley. The album is generally considered both more consistent and less interesting than The Madcap Laughs, with less really interesting material, though there are some enjoyable moments on it: [Excerpt: Syd Barrett, "Effervescing Elephant"] But the album is a little aimless, and people who knew him at the time seem agreed that that was a reflection of his life. He had nothing he *needed* to be doing -- no tour dates, no deadlines, no pressure at all, and he had a bit of money from record royalties -- so he just did nothing at all. The one solo gig he ever played, with the band who backed him on Barrett, lasted four songs, and he walked off half-way through the fourth. He moved back to Cambridge for a while in the early seventies, and he tried putting together a new band with Twink, the drummer of the Pink Fairies and Pretty Things, Fred Frith, and Jack Monck, but Frith left after one gig. The other three performed a handful of shows either as "Stars" or as "Barrett, Adler, and Monck", just in the Cambridge area, but soon Barrett got bored again. He moved back to London, and in 1974 he made one final attempt to make a record, going into the studio with Peter Jenner, where he recorded a handful of tracks that were never released. But given that the titles of those tracks were things like "Boogie #1", "Boogie #2", "Slow Boogie", "Fast Boogie", "Chooka-Chooka Chug Chug" and "John Lee Hooker", I suspect we're not missing out on a lost masterpiece. Around this time there was a general resurgence in interest in Barrett, prompted by David Bowie having recorded a version of "See Emily Play" on his covers album Pin-Ups, which came out in late 1973: [Excerpt: David Bowie, "See Emily Play"] At the same time, the journalist Nick Kent wrote a long profile of Barrett, The Cracked Ballad of Syd Barrett, which like Kent's piece on Brian Wilson a year later, managed to be a remarkable piece of writing with a sense of sympathy for its subject and understanding of his music, but also a less-than-accurate piece of journalism which led to a lot of myths and disinformation being propagated. Barrett briefly visited his old bandmates in the studio in 1975 while they were recording the album Wish You Were Here -- some say even during the recording of the song "Shine On, You Crazy Diamond", which was written specifically about Barrett, though Nick Mason claims otherwise -- and they didn't recognise him at first, because by this point he had a shaved head and had put on a great deal of weight. He seemed rather sad, and that was the last time any of them saw him, apart from Roger Waters, who saw him in Harrod's a few years later. That time, as soon as Barrett recognised Waters, he dropped his bag and ran out of the shop. For the next thirty-one years, Barrett made no public appearances. The last time he ever voluntarily spoke to a journalist, other than telling them to go away, was in 1982, just after he'd moved back to Cambridge, when someone doorstopped him and he answered a few questions and posed for a photo before saying "OK! That's enough, this is distressing for me, thank you." He had the reputation for the rest of his life of being a shut-in, a recluse, an acid casualty. His family, on the other hand, have always claimed that while he was never particularly mentally or physically healthy, he wasn't a shut-in, and would go to the pub, meet up with his mother a couple of times a week to go shopping, and chat to the women behind the counter at Sainsbury's and at the pharmacy. He was also apparently very good with children who lived in the neighbourhood. Whatever the truth of his final decades, though, however mentally well or unwell he actually was, one thing is very clear, which is that he was an extremely private man, who did not want attention, and who was greatly distressed by the constant stream of people coming and looking through his letterbox, trying to take photos of him, trying to interview him, and so on. Everyone on his street knew that when people came asking which was Syd Barrett's house, they were meant to say that no-one of that name lived there -- and they were telling the truth. By the time he moved back, he had stopped answering to "Syd" altogether, and according to his sister "He came to hate the name latterly, and what it meant." He did, in 2001, go round to his sister's house to watch a documentary about himself on the TV -- he didn't own a TV himself -- but he didn't enjoy it and his only comment was that the music was too noisy. By this point he never listened to rock music, just to jazz and classical music, usually on the radio. He was financially secure -- Dave Gilmour made sure that when compilations came out they always included some music from Barrett's period in the group so he would receive royalties, even though Gilmour had no contact with him after 1975 -- and he spent most of his time painting -- he would take photos of the paintings when they were completed, and then burn the originals. There are many stories about those last few decades, but given how much he valued his privacy, it wouldn't be right to share them. This is a history of rock music, and 1975 was the last time Roger Keith Barrett ever had anything to do with rock music voluntarily. He died of cancer in 2006, and at his funeral there was a reading from The Little Grey Men, which was also quoted in the Order of Service -- "The wonder of the world, the beauty and the power, the shapes of things, their colours lights and shades; these I saw. Look ye also while life lasts.” There was no rock music played at Barrett's funeral -- instead there were a selection of pieces by Handel, Haydn, and Bach, ending with Bach's Allemande from the Partita No. IV in D major, one of his favourite pieces: [Excerpt: Glenn Gould, "Allemande from the Partita No. IV in D major"] As they stared blankly in dumb misery deepening as they slowly realised all they had seen and all they had lost, a capricious little breeze, dancing up from the surface of the water, tossed the aspens, shook the dewy roses and blew lightly and caressingly in their faces; and with its soft touch came instant oblivion. For this is the last best gift that the kindly demi-god is careful to bestow on those to whom he has revealed himself in their helping: the gift of forgetfulness. Lest the awful remembrance should remain and grow, and overshadow mirth and pleasure, and the great haunting memory should spoil all the after-lives of little animals helped out of difficulties, in order that they should be happy and lighthearted as before. Mole rubbed his eyes and stared at Rat, who was looking about him in a puzzled sort of way. “I beg your pardon; what did you say, Rat?” he asked. “I think I was only remarking,” said Rat slowly, “that this was the right sort of place, and that here, if anywhere, we should find him. And look! Why, there he is, the little fellow!” And with a cry of delight he ran towards the slumbering Portly. But Mole stood still a moment, held in thought. As one wakened suddenly from a beautiful dream, who struggles to recall it, and can re-capture nothing but a dim sense of the beauty of it, the beauty! Till that, too, fades away in its turn, and the dreamer bitterly accepts the hard, cold waking and all its penalties; so Mole, after struggling with his memory for a brief space, shook his head sadly and followed the Rat.

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Johann Sebastian Bach - Violin Partita No. 2: Chaconne

YourClassical Daily Download

Play Episode Listen Later Aug 12, 2022 15:43

Johann Sebastian Bach - Violin Partita No. 2: Chaconne Wolf Harden, piano trans. Ferruccio Busoni More info about today's track: Naxos 8.555699 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

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Johann Sebastian Bach - Violin Partita No. 2: Chaconne

YourClassical Daily Download

Play Episode Listen Later Aug 8, 2022 17:27

Johann Sebastian Bach - Violin Partita No. 2: Chaconne Bruce Levingson, piano arr. Johannes Brahms More info about today's track: Dorian Sono Luminus DSL-92245 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

america johann sebastian bach naxos chaconne partita no violin partita

Violin Partita no. 2, BWV 1004 - 5. Chaconne [Piano arrangement]

The #1 Musical Experience

Play Episode Listen Later Jun 13, 2022 15:25

Johann Sebastian Bach wrote his Partita in D minor for solo violin, BWV 1004, from the year 1717 to 1723. It has been suggested that this partita, and especially its last movement, was conceived as a tombeau in memory of Bach's first wife Maria Barbara Bach (who died in 1720). The partita contains five movements, given in Italian as: Allemanda, Corrente, Sarabanda, Giga and Caccona.

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#11 Ingrid Matthews

Classical Happy Hour

Play Episode Listen Later Apr 8, 2022 32:57

Ingrid Matthews is a Professor of Baroque violin and Historical Performance at Indiana University. She also founded the Seattle Baroque Orchestra and directed it for many years. We performed the Sarabande from violin Partita No. 1, BWV 1002, in my Bachfor2 arrangement (Volume 2). Recorded in Staunton, Virginia, USA. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/martin-davids/support

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Bach Mash (disquiet0535)

ray_cobley

Play Episode Listen Later Apr 2, 2022 2:56

A remix of a 1934 performance by Walter Gieseking of the Air from Bach's Partita No. 6, available to download at: https://archive.org/details/J.S.BachPartitaNo.6InEMinorBwv830 I chopped it up into numerous fragments of varying length with many consisting of just two or three notes. It was re-assembled on a largely random basis but with longer clips at the beginning & shorter ones toward the end. Finally, I made various adjustments to the sound quality, dynamics etc. & this is the result. More on this 535th weekly Disquiet Junto project – Jigsaw Disjunction (The Assignment: Break a familiar melody into pieces and play it in a different sequence) – at: https://disquiet.com/0535/ 1 More on the Disquiet Junto at: https://disquiet.com/junto/ 1 Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/ Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0535-jigsaw-disjunction/

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Episode 239: 18239 Bach - Volume 2 Works for Violin

Classical Music Discoveries

Play Episode Listen Later Apr 1, 2022 64:30

GRAMMY Award-winning classical guitarist Jason Vieaux releases Bach Volume 2: Works for Violin on Azica Records. A follow up to his critically acclaimed 2009 album, Bach Volume 1: Works for Lute, Volume 2 completes Vieaux's Bach cycle with J. S. Bach's Partita No. 3 in E Major, BWV 1006, which is both the Violin Partita No. 3 and Lute Suite No. 4; Sonata No. 3 in C Major, BWV 1005; and Sonata No. 1 in G minor, BWV 1001.Purchase the music (without talk) at:Bach: Works for Violin/Lute - Volume 2 (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katy Solomon from Morahana Arts and Media.

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Strauss, Smith, and Salonen • LA Phil 2021/22

Upbeat Live

Play Episode Listen Later Feb 12, 2022 34:27

Chair of Music History at the Colburn Conservatory of Music, Kristi Brown-Montesano, explains the connection to nature in pieces by Bach, Esa-Pekka Salonen, Gabriella Smith and Strauss. This talk was given at the performance of Strauss, Smith, and Salonen at Walt Disney Concert Hall. Pieces discussed: BACH Preludio from Partita No. 3, BWV 1006 for solo violin Esa-Pekka SALONEN Fog (U.S. premiere of orchestral version) Gabriella SMITH Breathing Forests (world premiere, LA Phil commission with generous support from the Lenore S. and Bernard A. Greenberg Fund) STRAUSS Also sprach Zarathustra, Op. 30 See this year's Upbeat Live schedule at: laphil.com/ubl. Join us in person for our 2021/22 season! Get tickets: laphil.com/calendar.

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Violin Partita No.2 in D minor: Chaconne

A Moment of Bach

Play Episode Listen Later Jan 31, 2022 29:56

Welcome back! For our first episode of Season 2, we dive into one of the great violin solo pieces. And there is a rich well of musical material here in the Violin Partita No. 2. Alex's moment features the technical prowess of the soloist, Shunske Sato -- a bravura section of flurrying fast arpeggiated figures. But even more profound is the structure of the Chaconne: a cyclical theme that moves from minor to major to minor, and seems as if it could circle around and around, into eternity. Violin Partita No. 2 in D minor (BWV 1004) as performed by Shunske Sato, Netherlands Bach Society: https://www.youtube.com/watch?v=pnK6R5ej6Hg We now have over 20,000 podcast downloads! Thanks to all our new and continuing listeners! And thanks as always to the Netherlands Bach Society, who are in their 100th season this year. Cheers!

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Note Perfect: The Sound of Music

Developing Classical Thinkers

Play Episode Listen Later Jan 4, 2022 27:40

How does music fit into a Classical education? How does the study of music foster a love for truth and beauty? What brings more joy--listening to a beautiful piece of music, or just playing an instrument regardless of our skill level? What specific pieces might we listen to help cultivate that love for beautiful things in ourselves and in our students? In this episode, Winston Brady speaks with Thales band directors Richard Dryer and Wendy Cheng about the enriching, transformative nature of music and the joy that great music can bring to a Great Books education. Special thanks to Wendy and Richard for their time on the episode and their service in building up our music program. Theme music is Vivaldi's Four Seasons, Spring (1st Movement), recorded by John Harrison and the Wichita State University Chamber Players. The recording is available at https://www.youtube.com/watch?v=zc7LVR_Lb_ESongs referenced in the Episode include: Bach, Partita No. 2: https://www.youtube.com/watch?v=ngjEVKxQCWsMiles Davis, Kind of Blue: https://www.youtube.com/watch?v=FEPFH-gz3wEMozart, Kegelstatt Trio: https://www.youtube.com/watch?v=g_cfok4QxdUBeethoven Piano Concerto Number 4: https://www.youtube.com/watch?v=hTO9ms_eIEYGustav Holste, The Planets: https://www.youtube.com/watch?v=Isic2Z2e2xs&t=15s

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Episode 46: Bach's Partitas, BWV 825-830

The J. S. Bach Files Podcast

Play Episode Listen Later Nov 2, 2021 58:42

We'll focus on Bach's Partita No. 4 in D major, BWV 828, but also take a look at the opening movements of the other five partitas.

bach bwv partita no partitas

Bonus. Radar: Doet Martin Parr aan uitlachfotografie?

DS Vandaag

Play Episode Listen Later Sep 26, 2021 29:40

Deze week in Radar: Martin Parr, de Magnumfotograaf die niemand spaart, en pianist Víkingur Ólafsson, de nieuwe IJslandse god van de klassieke muziek. Hij is 37, IJslands en hij speelt Mozart met een bijna bovenmenselijke vingervlugheid. Pianist Víkingur Ólafsson is de nieuwe god van de klassieke muziek en recensent Jasper Croonen legt uit waarom de IJslander niemand koud laat. En hoe meedogenloos is de fotografie van Martin Parr? De Britse Magnumfotograaf heeft voor het eerst een overzichtstentoonstelling in ons land. Zijn foto's zijn grappig, kleurrijk en ook controversieel. Hij toont de Britten zoals ze zijn: van arbeiders die hotdogs eten aan zee tot rijke dames in hun bontjassen. Lacht Parr de mensen die hij fotografeert uit - Víkingur Ólafsson of is hij helemaal geen genadeloze nar? Cultuurjournalist Ines Minten weegt zijn oeuvre. Journalist Ines Minten, Jasper Croonen en Filip Van Ongevalle | Presentatie Cathérine De Kock | Redactie Marjan Justaert en Cathérine De Kock | Eindredactie Marjan Justaert | Audioproductie Brecht Plasschaert | Muziek Brecht Plasschaert | Chef Podcast Bart Dobbelaere | Extra geluidsfragmenten Rondo in D Major, K.485 (W.A. Mozart) door Víkingur Ólafsson, Suite uit Partita No.3 in E Major (J.S. Bach) door Víkingur Ólafsson, La damoiselle élue (Claude Debussy) door Víkingur Ólafsson, Opening – Glassworks (Philip Glass) door Víkingur Ólafsson, Etude No. 5 (Philip Glass) door Philip Glass, Etude No. 5 (Philip Glass) door Víkingur Ólafsson, God save the queen (Sex Pistols) Vragen, opmerkingen of suggesties? Mail podcast@standaard.be See omnystudio.com/listener for privacy information.

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Doet Martin Parr aan uitlachfotografie?

Radar

Play Episode Listen Later Sep 25, 2021 29:40

Deze week in Radar: Martin Parr, de Magnumfotograaf die niemand spaart, en pianist Víkingur Ólafsson, de nieuwe IJslandse god van de klassieke muziek. Hij is 37, IJslands en hij speelt Mozart met een bijna bovenmenselijke vingervlugheid. Pianist Víkingur Ólafsson is de nieuwe god van de klassieke muziek en recensent Jasper Croonen legt uit waarom de IJslander niemand koud laat. En hoe meedogenloos is de fotografie van Martin Parr? De Britse Magnumfotograaf heeft voor het eerst een overzichtstentoonstelling in ons land. Zijn foto's zijn grappig, kleurrijk en ook controversieel. Hij toont de Britten zoals ze zijn: van arbeiders die hotdogs eten aan zee tot rijke dames in hun bontjassen. Lacht Parr de mensen die hij fotografeert uit - Víkingur Ólafsson of is hij helemaal geen genadeloze nar? Cultuurjournalist Ines Minten weegt zijn oeuvre. Journalist Ines Minten, Jasper Croonen en Filip Van Ongevalle | Presentatie Cathérine De Kock | Redactie Marjan Justaert en Cathérine De Kock | Eindredactie Marjan Justaert | Audioproductie Brecht Plasschaert | Muziek Brecht Plasschaert | Chef Podcast Bart Dobbelaere | Extra geluidsfragmenten Rondo in D Major, K.485 (W.A. Mozart) door Víkingur Ólafsson, Suite uit Partita No.3 in E Major (J.S. Bach) door Víkingur Ólafsson, La damoiselle élue (Claude Debussy) door Víkingur Ólafsson, Opening – Glassworks (Philip Glass) door Víkingur Ólafsson, Etude No. 5 (Philip Glass) door Philip Glass, Etude No. 5 (Philip Glass) door Víkingur Ólafsson, God save the queen (Sex Pistols) Vragen, opmerkingen of suggesties? Mail podcast@standaard.be See omnystudio.com/listener for privacy information.

god mail suite bach mozart deze zijn hij rondo cath doet philip glass britten claude debussy d major martin parr partita no ijslandse

Jammin' at Zimmermann's

Welcome to Dave's Music Room

Play Episode Listen Later Sep 17, 2021 127:59

Episode #30: Jammin' at Zimmermann's Uploaded: September 18, 2021 All selections are by Johann Sebastian Bach and arranged by Jacques Loussier Play Bach No. 1 Prelude No. 1 [5:27] Fugue No. 1 [5:04] Prelude No. 2 [4:23] Fugue No. 2 [2:51] Toccata [8:56] Prelude No. 8 [4:58] Prelude No. 5 [1:56] Fugue No. 5 [1:54] Play Bach No. 2 Partita No. 1 in B flat Major: Allemande [6:19] Partita No. 1 in B flat Major: Courante [2:31] Partita No. 1 in B flat Major: Sarabande [2:59] Partita No. 1 in B flat Major: Menuet I [2:00] Partita No. 1 in B flat Major: Menuet II [1:59] Partita No. 1 in B flat Major: Gigue [3:10] Choral [4:12] Prelude No. 6 [2:10] Aria [3:28] Prelude No. 16 [2:59] Fugue No. 16 [2:48] Prelude No. 21 [2:52] Play Bach No. 3 Concerto Italien: Allegro [5:39] Concerto Italien: Andante [4:43] Concerto Italien: Finale [6:05] Inventions À Deux Voix No. 1 [2:24] Inventions À Deux Voix No. 2 [3:37] Inventions À Deux Voix No. 5 [2:48] Inventions À Deux Voix No. 8 [1:37] Inventions À Deux Voix No. 15 [1:17] Fantaisie Chromatique En Ut Mineur [5:11] Jacques Loussier trio: Jacques Loussier, piano Pierre Michelot, ‘bass Christian Garro, drums NOT NOW MUSIC NOT3CD256

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Best Of, Part 1 // Jennifer Timmins, Sine Winther, Clancy McLeod

The Talent

Play Episode Listen Later Jun 22, 2021 58:18

With lockdown delaying the Season 1 Grand Final, we've dived into the archives to bring you some of the very best performances on The Talent! In the first of our two-part best of episodes, join Teddy Darling and relive performances by guitarist Clancy McLeod (2nd prize, Season 2 2018), pianist Sine Winther (2nd prize, Season 1 2018) and winner of Season 1 2018, flautist Jennifer Timmins. Teddy also caught up with Jennifer to chat about her artistic vision, what she's been up to since appearing on The Talent, and also to get her advice for this year's finalists.Clancy performed:- Manuel de Falla: Homage to Debussy- Heictor Villa-Lobos: Etude No. 12- Napoléon Coste: Les DépartsSine performed:- Bach: "Rondo" and "Capriccio" from Partita No. 2 in C Minor- Ravel: "Alborada del Gracioso" from MiroirJennifer performed:- Gillian Whitehead: Taurangi- Paul Dean: Mvt 3 "Epiphany" from Falling Ever Deeper--Credits:- Host: Teddy Darling- Guest: Jennifer Timmins- Producer: Jess Carrascalão HeardThe Talent is made possible with the generous support from the Robert Salzer Foundation.

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Corrente from Partita No.1 in B minor for violin solo - Mp3 audio file

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Play Episode Listen Later Jun 1, 2021 2:18

ASO Conversation: Pablo Sánchez-Pazos

Symphosium

Play Episode Listen Later Apr 26, 2021 33:15

In this episode, we sit down with Pablo Sánchez-Pazos, a violinist with the Akron Symphony Orchestra, to talk about his career in music, his first season with the ASO, what he has been working on during the past year, and more as part of our ASO Conversation series. The episode concludes with Pablo's solo performance of Bach's Chaconne from Partita No. 2. Pablo Sánchez-Pazos is a violinist based in Cleveland. Born and raised in Montemorelos, México, Pablo began his studies at a young age as a student at the Conservatory of Music in Montemorelos, during which time he was a prize winner of the national Tomás Ruiz Ovalle competition in Zacatecas, México. As an avid chamber music player, Pablo enjoys playing chamber music with his quartet, Antares, and has received instruction from members of the Chamber Music Society of Lincoln Center as well as members of the Takácks, Euclid and Latinoamericano string quartets. Pablo has received fellowships to attend the Aspen Music Festival and the Rocky Ridge Music Festival. Pablo is a graduate student at the Cleveland Institute of Music where he studies under Stephen Rose, as well as having chamber music sessions with numerous coaches, including Ilya Kaler, Keith Robinson and Si-Yan Darren Li. To learn more about all the ways that you can experience the Akron Symphony, visit our ASO at Home page. There you will find musical performances, musician interviews, podcast episodes, and a variety of educational resources.

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ASO Goes Electric: Sam Petrey

Symphosium

Play Episode Listen Later Mar 30, 2021 33:27

In this episode, Akron Symphony violinist Sam Petrey talks about his experience recording with effects pedals from EarthQuaker Devices. Sam recorded Bach's Allemande from D minor Partita No. 2 and Novacek's Perpetuum Mobile using the Afterneath and the Palisades pedals. You can see Sam's full video on EarthQuaker's YouTube page. The performance was recorded and mixed by Jeff France, and shot and edited by Chris Tran at EarthQuaker Studios in Akron. Learn more about EarthQuaker at their website. To learn more about all the ways that you can experience the Akron Symphony, visit the ASO at Home page on our website. There you will find musical performances, musician interviews, podcast episodes, and a variety of educational resources.

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Honens @ Home: Nicolas Namoradze performs a trio of works

Honens Piano Podcast

Play Episode Listen Later Feb 25, 2021 10:35

For the final week of a month dedicated to 2018 Honens Prize Laureate Nicolas Namoradze, enjoy this excerpt of him performing a trio of works, all recorded live during his Semifinals Solo Round at the 2018 Honens International Piano Competition. First, you'll hear the final movement of J.S. Bach's Partita No. 6 in E minor BWV 830; then the first movement of R. Schumann's Humoreske in B-flat Major Op. 20; and finally Godowsky's transcription of Chopin's Etude in G-sharp minor Op. 25 No. 6 “Double Thirds”. As Jon Kimura Parker says, it's hard to keep up with all of Nicolas' recent accolades! We created a list on our website to capture everything all in one place for easy reviewing. See you next week! -Watch the video edition of this excerpt at honens.com/home.

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18 Bach - Partita No. 2 In C Minor, BWV 826

Ruach Breath of Life

Play Episode Listen Later Jan 29, 2021 1:03

18 Bach - Partita No. 2 In C Minor, BWV 826 by Ruach Breath of Life

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Honens @ Home: Nicolas Namoradze performs J.S. Bach

Honens Piano Podcast

Play Episode Listen Later Jan 21, 2021 22:41

In this episode, 2018 Honens Prize Laureate Nicolas Namoradze performs J.S. Bach's Partita No. 6 in E minor BWV 830 live at the 2018 Honens International Piano Competition. Watch the video edition of this excerpt at honens.com/home.

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Worship and Authenticity

Auburn Friends

Play Episode Listen Later Dec 29, 2020 7:56 Transcription Available

Concerning the Chaconne (from Bach's Partita No. 2 in D Minor): “On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings. If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind. If one doesn't have the greatest violinist around, then it is well the most beautiful pleasure to simply listen to its sound in one's mind.” — Romantic composer Johannes Brahms in a letter to fellow composer Clara Schumann.... That, I submit, is the worship woven with love and beauty that made Bach's work ultimately authentic.

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Loure from Partita No.3 in E major for violin solo - Mp3 audio file

The J. S. Bach Files Podcast

Play Episode Listen Later Dec 14, 2020 1:57

solo violin johann sebastian bach audio files preludio scorch e major gavotte solo violin partita no loure

Honens @ Home: Tzu-Yin Huang performs J.S. Bach

Honens Piano Podcast

Play Episode Listen Later Dec 2, 2020 12:34

Today, enjoy a performance from 2018 Honens Semifinalist Tzu-Yin Huang of J.S. Bach's Partita No. 3 in A minor BWV 827 live at the 2018 Honens International Piano Competition.Watch the video edition of this excerpt at honens.com/home.

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Episode 31: Bach’s Sonatas and Partitas for Solo Violin, part 2

Play Episode Listen Later Jun 16, 2020 53:06

We’ll look at Sonata No. 2 in A minor, BWV 1003, and Partita No. 2 in D minor, BWV 1004.

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6. Shannon Ma

Making Menuhin

Play Episode Listen Later May 29, 2020 15:28

In addition to playing the violin, Shannon Ma is also passionate about dance, filmmaking and writing. She shares the influences of dance on the musicality of her playing style, as well as excerpts from an essay she wrote on growing up Asian in America, with the goal of helping to break down stereotypes that exist about Asians in the music community. Hear her perform the prelude from Bach's Partita No. 3 in E Major and Kreisler's Marche Miniature Viennese. The 14-year old currently attends the San Francisco Conservatory of Music, and is a junior competitor in Menuhin Competition Richmond 2021. Visit vpm.org/menuhin for more information on the upcoming competition.

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Opus 24 - The TRILLOQUY Spooktacular!

TRILLOQUY

Play Episode Listen Later May 25, 2020 46:10

In this special opus, Garrett and Scott celebrate the spookiest time of year with two original stories. The first story was inspired by the tradition of one-handed piano works, and the second was inspired by the life of composer and pianist Florence Price, whose family "escaped" to the north. Both stories feature the voice talent of previous Trilloquy guest Meghann Oglesby. The guys also revisit a few Halloween standards from the classical music repertoire and share some of their other Halloween favorites. Episode Playlist: Tomaso Albinoni – Adagio for Violin, Strings, and Organ Bernard Herrmann – “Psycho Suite” Edvard Grieg – "In the Hall of the Mountain King" Charles Gounod – “Funeral March of a Marionette” Hector Berlioz – “Symphonie Fantastique” Camille Saint-Saens – “Dance Macabre “ Aram Khachaturian – Waltz from the “Masquerade Suite” Maurice Ravel – “Piano Concerto for the Left Hand” Johann Sebastian Bach – Chaconne from Partita No. 2 in D minor Ludwig van Beethoven – Piano Sonata No. 14 "Moonlight" Franz Liszt – “Totentanz” Traditional – “Wade in the Water” / ”City Called Heaven”

Episode 30: Bach’s Sonatas and Partitas for Solo Violin, part 1

The J. S. Bach Files Podcast

Play Episode Listen Later May 14, 2020 58:09

We’ll look at Sonata No.1 in F Minor, BWV 1001, and Partita No, 1 in B Minor, BWV 1002.

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IN CONVERSATION – With Time For Three

Classical New York

Play Episode Listen Later Apr 24, 2020 24:23

This week we are in conversation with the members of the genre defying ensemble and "classically trained garage band" Time For Three. Our host and artistic director Clemmie Burton-Hill talked to them earlier this year after being "in awe" of their interpretation and performance of J.S. Bach's Chaconne, Partita No.2 at a private Soiree at Joshua Bell's New York home. Here, Ranaan Meyer, Charles Yang, Nick Kendall, talk about improvisation, connection with the audiences, taking the freedom of moving between genres and playing hungover. And then they play that piece, their desert island companion: Bach's Chaconne – or their take on it. You can also watch their performance as part of WQXR's "Offstage" series here. Chaconne in Winter J.S. Bach/Arranged Hackman & Time For Three Clemency Burton-Hill, Host and ProducerSapir Rosenblatt, ProducerRosa Gollan, ProducerGeorge Wellington, Technical ProducerLukas Krohn-Grimberghe, Executive Producer

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Vol. 231 琴童噩梦：练习曲（上）

不一定音乐广播

Play Episode Listen Later Mar 12, 2020

最近勺子有两个朋友都买了电钢琴，开始了成人学琴者生涯。练钢琴，最痛苦的事，莫过于枯燥无味的练习曲——从入门到放弃，就靠它了。而对于大多数古典音乐爱好者来说，练习曲却又是肖邦的《离别》《革命》，李斯特的《钟》《马捷帕》，如果喜爱炫技流，那听到这些华丽的练习曲，简直有如吃到了东坡肉中油汪汪的大肥肉。其实练习曲对于钢琴艺术的发展一直起到了很重要的作用，从枯燥无味的劝退神器，到无数爱乐人的心头好，练习曲到底是如何起源、如何发展，就让勺子用两期节目的时间好好跟大家聊聊。阿 D, 卡尔·车尔尼 Carl Czerny - 钢琴初级教程，作品 599 Erster Wiener Lehrmeister im Pianoforte-Spiel, Op.599: 第 60 首 LXX 格伦·古尔德 Glenn Gould, 约翰·塞巴斯蒂安·巴赫 Johann Sebastian Bach - 第 1 号降 B 大调帕蒂塔，BWV 825 Partita No. 1 in B-Flat Major, BWV 825: 第 1 首，前奏曲 I. Prelude / 第 2 首，阿拉曼德舞曲 II. Allemande / 第 3 首，库朗特舞曲 III. Courante / 第 4 首，萨拉班德舞曲 IV. Sarabande / 第 5 和 6 首，小步舞曲第 1 和 2 首 V & VI. Menuett I & II / 第 7 首，吉格舞曲 VII. Gigue 格伦·古尔德 Glenn Gould, 约翰·塞巴斯蒂安·巴赫 Johann Sebastian Bach - 第 13 首 A 小调二部创意曲，BWV 784 Invention No. 13 in A Minor, BWV 784 / 第 14 首降 B 大调二部创意曲，BWV 785 Invention No. 14 in Flat B Major, BWV 785 / 第 6 首 E 大调三部创意曲，BWV 792 Sinfonia No. 6 in E Major, BWV 792 皮埃尔·瀚代 Pierre Hantaï, 多梅尼科·斯卡拉蒂 Domenico Scarlatti - 大键琴练习 Essercizi per gravicembalo: B 小调奏鸣曲，K.27 Sonate en Si Mineur, K.27: Allegro 达尼埃尔·拉法尔 Danielle Laval, 穆齐奥·克莱门蒂 Muzio Clementi - 名手之道，作品 44 Gradus ad Parnassum, Op.44: 第 2 首，C 大调，流畅而快速地 II. Pièces en ut Majeur: Veloce 郎朗, 克劳德·德彪西 Claude Debussy - 儿童园地，L. 113 Children's Corner, L.113: 第 1 首，博士练习曲 I. Doctor Gradus ad Parnassum 江崎昌子, 卡尔·车尔尼 Carl Czerny - 钢琴流畅练习曲，作品 849 30 Études de mécanisme, Op.849: 第 13 首 XIII / 第 26 首 XXVI 马西米利亚诺·杰诺特 Massimiliano Génot, 卡尔·车尔尼 Carl Czerny - 钢琴快速练习曲，作品 299 The School of Velocity, Op.299: 第 26 首 XXVI / 第 37 首 XXXVII / 第 39 首 XXXIX / 第 36 首 XXXVI 帕斯卡·罗杰 Pascal Rogé, 克里斯蒂娜·欧提兹 Cristina Ortiz, 夏尔·迪图瓦 Charles Dutoit, 乐团：伦敦小交响乐团 London Sinfonietta, 卡密尔·圣桑 Camille Saint-Saëns: 动物狂欢节，R. 125 Le carnaval des animaux, R.125: 第 3 首，野驴 III. Hémiones (animaux véloces) / 第 11 首，钢琴家 XI. Pianistes 玛格丽特·奥特维尔 Margaret Otwell, 弗里德里希·布格缪勒 Franz Burgmüller - 钢琴进阶练习 25 首，作品 100 25 Études faciles et progressives, Op.100: 第 2 首，阿拉伯风 II. L'arabesque / 第 5 首，天真烂漫 V. Innocence / 第 7 首，清澈的溪水 VII. Le courant limpide 弗拉基米尔·菲尔兹曼 Vladimir Feltsman, 罗伯特·舒曼 Robert Schumann - 少儿曲集，作品 68 Album für die Jugend, Op.68: 第 1 首，旋律 I. Melodie / 第 2 首，士兵进行曲 II. Soldatenmarsch / 第 8 首，粗犷的骑士 VIII. Wilder Reiter / 第 10 首，快乐的农夫 X. Fröhlicher Landmann, von der Arbeit zurückkehrend 伊沃·波格雷里奇 Ivo Pogorelich, 弗雷德里克·肖邦 Frédéric Chopin - 第 2 号钢琴奏鸣曲，作品 35 Piano Sonata No.2, Op.35: 第 4 乐章，终曲，急板 IV. Finale. Presto 巴拉兹·索科莱 Balazs Szokolay, 穆齐奥·克莱门蒂 Muzio Clementi - 六首小奏鸣曲，作品 36，第 1 首，C 大调小奏鸣曲 6 Piano Sonatinas, Op.36, No.1, Sonatina in C major: 第 1 乐章，快板 I. Allegro

children school finale arbeit iv pi minor xi corner viii jugend innocence xiii velocity chopin vii allegro presto xxvi johann sebastian bach bwv robert schumann allemande xxxix camille saint sa glenn gould sonate e major sarabande lxx piano sonata no domenico scarlatti sonatina courante b flat major gigue london sinfonietta partita no charles dutoit landmann gradus muzio clementi invention no ivo pogorelich parnassum carl czerny

اپیزود نهم: کنسرتو برای ساکنان آندرومدا (یوهان سباستین باخ)

amusic podcast پادکست فارسی ای میوزیک

Play Episode Listen Later Dec 1, 2019 77:57

در سال ۱۹۷۷ ناسا تصمیم گرفت تا سفینه وویجر ۱ و ۲ رو به فضا بفرسته. بعد از این که از منظومه شمسی خارج می شدند و بعد از سالها دیگه امکان تماس با این سفینه ها از بین می رفت. ناسا یک دیسک طلایی درست می کنه تا در این سفینه بذاره تا اگر به صورت اتفاقی این سفینه به دست یک فرا زمینی هوشمند افتاد از تمدن ما آگاه بشه. روی این دیسک طلایی عکس هایی از نحوه زندگی بر روی زمین بود تا پیامهایی از رییس جمهور آمریکا، ولی ناسا برای نمایش فرهنگ غنی مردمان زمین به موسیقی روی میاره و قطعاتی رو روی این صفحه طلایی کپی می کنه که اگر روزی این صفینه و محتویاتش به موجودات هوشمندی رسید اونها از تمدن ما در روی زمین مطلع بشن . یکی از قطعاتی که انتخاب می کنه قطعه ای از یوهان سباستین باخه . قسنت اول کنسرتو براندبورگ شماره ۲. این قطعه چیزی بود که نژاد بشر با افتخار می تونست از خودش به دیگر موجودات هوشمند در جهان لایتناهی نشون بده، ولی شاید اگر فضاییها از داستان براندنبورگها مطلع می شدند دیگر اینقدر هم برای ما افتخار آمیز نبود. در این اپیزود در مورد یوهان سباستین باخ و کنسرتو براندنبورگها صحبت کردم توییتر اینستاگرام تلگرام صفحه حمایت از پادکست ای میوزیک حامی باش :قطعات استفاده شده در این اپیزود به ترتیب شنیده شدن کنسرتو براندنبورگ شماره ۲ Nach dir ,Herr ,verlanget mich , BWV 150 "Erschallet, ihr Lieder, erklinget, ihr Saiten!" of cantata 172 J.S. Bach Cantata Christen, ätzet diesen Tag, BWV 63 Cantata for the 1st Day of Christmas: BWV 61 Siehe, Ich stehe vor der Tür سویییت ویولنسل Notebook for Anna Magdalena Bach: Menuet, Anh. 114 Wir eilen mit schwachen doch emsigen schrriten Mein glaubiges Herze: Mass In B Minor, BWV 232 / Gloria - Cum Sancto Spiritu Bach's Partita No.2 in D minor کنسرتو براندنبورگ شماره ۱ کنسرتو براندنبورگ شماره ۳ Bach St. matthew passion:

herr lieder cantata bwv siehe saiten partita no

49 搭顺风车拜访军阀

Left-Right

Play Episode Listen Later Apr 16, 2019 37:20

我们的老朋友刘怡再次做客《忽左忽右》，不久前，他刚刚见证了一段重要的历史现场。刘怡带来了许多有趣的故事和令人感慨的见闻，一起来听听吧。【主持】程衍樑（新浪微博：@GrenadierGuard2）杨一（新浪微博：@杨一1）【嘉宾】刘怡，《三联生活周刊》主笔 [02:15]一位大二辍学的叙利亚连长请求刘怡讲述亚洲的历史 [03:40]拉卡的律师六年没有翻过报纸了 [07:20]“小孩害羞是文明的标志” [09:50]战后三种阶段的三个样板 [12:25]跑掉了的一代人 [13:10]大阿里巴巴和小阿里巴巴 [13:40]有故事的顺风车司机 [16:45]“你知不知道古勒卜丁·希克马蒂亚尔是谁？” [18:00]刺客假扮记者成风 [19:40]全世界有几十万记者报道过美国总统选举，谁知道阿富汗总统是怎么选出来的？ [20:25]老司机讲述颠沛流离生涯 [22:20]文明社会改变了一个人的价值观 [26:10]今天的军阀曾是昨日的国家精英 [30:45]辩不过就干掉他 [31:40]大人物往往不会反思，更不忏悔 [32:55]在代尔祖尔的迷人星空下【音乐】 "Partita No 2 in d, BWV 1004 IV. Giga (IV. Giga)"（James Ehnes·6 Sonatas & Partitas for Solo Violin·2007·Alliance Records Label） "Memorie"（Argine·Luctamina In Rebus·2001·Ark Records）您可以通过网易云音乐、Spotify搜索「忽左忽右 BGM」，获得节目完整歌单。【logo设计】杨文骥【收听方式】推荐您使用「苹果播客」、Spotify或任意安卓播客客户端订阅收听《忽左忽右》，也可通过喜马拉雅FM、蜻蜓FM、荔枝FM、网易云音乐收听。【本节目由JustPod出品】【互动方式】微博：@忽左忽右leftright 微博：@播客一下微信公众号：忽左忽右Leftright 微信公众号：播客一下

iv sonata left right bwv solo violin partita no partitas grenadierguard2

49 搭顺风车拜访军阀

Play Episode Listen Later Apr 16, 2019 37:20

我们的老朋友刘怡再次做客《忽左忽右》，不久前，他刚刚见证了一段重要的历史现场。刘怡带来了许多有趣的故事和令人感慨的见闻，一起来听听吧。【主持】程衍樑（新浪微博：@GrenadierGuard）杨一（新浪微博：@杨一1）【嘉宾】刘怡，《三联生活周刊》主笔●[02:15]一位大二辍学的叙利亚连长请求刘怡讲述亚洲的历史●[03:40]拉卡的律师六年没有翻过报纸了●[07:20]“小孩害羞是文明的标志”●[09:50]战后三种阶段的三个样板●[12:25]跑掉了的一代人●[13:10]大阿里巴巴和小阿里巴巴●[13:40]有故事的顺风车司机●[16:45]“你知不知道古勒卜丁·希克马蒂亚尔是谁？”●[18:00]刺客假扮记者成风●[19:40]全世界有几十万记者报道过美国总统选举，谁知道阿富汗总统是怎么选出来的？●[20:25]老司机讲述颠沛流离生涯●[22:20]文明社会改变了一个人的价值观●[26:10]今天的军阀曾是昨日的国家精英●[30:45]辩不过就干掉他●[31:40]大人物往往不会反思，更不忏悔●[32:55]在代尔祖尔的迷人星空下【音乐】 "Partita No 2 in d, BWV 1004 IV. Giga (IV. Giga)"（James Ehnes·6 Sonatas & Partitas for Solo Violin·2007·Alliance Records Label）"Memorie"（Argine·Luctamina In Rebus·2001·Ark Records）【logo设计】杨文骥【收听方式】推荐您使用泛用型播客客户端订阅收听《忽左忽右》，也可通过喜马拉雅FM收听。【互动方式】新浪微博：@忽左忽右leftright微信公众号：忽左忽右leftright

iv sonata giga bwv memorie solo violin partita no partitas james ehnes

49 搭顺风车拜访军阀

Play Episode Listen Later Apr 16, 2019 37:20

我们的老朋友刘怡再次做客《忽左忽右》，不久前，他刚刚见证了一段重要的历史现场。刘怡带来了许多有趣的故事和令人感慨的见闻，一起来听听吧。【主持】程衍樑（新浪微博：@GrenadierGuard）杨一（新浪微博：@杨一1）【嘉宾】刘怡，《三联生活周刊》主笔●[02:15]一位大二辍学的叙利亚连长请求刘怡讲述亚洲的历史●[03:40]拉卡的律师六年没有翻过报纸了●[07:20]“小孩害羞是文明的标志”●[09:50]战后三种阶段的三个样板●[12:25]跑掉了的一代人●[13:10]大阿里巴巴和小阿里巴巴●[13:40]有故事的顺风车司机●[16:45]“你知不知道古勒卜丁·希克马蒂亚尔是谁？”●[18:00]刺客假扮记者成风●[19:40]全世界有几十万记者报道过美国总统选举，谁知道阿富汗总统是怎么选出来的？●[20:25]老司机讲述颠沛流离生涯●[22:20]文明社会改变了一个人的价值观●[26:10]今天的军阀曾是昨日的国家精英●[30:45]辩不过就干掉他●[31:40]大人物往往不会反思，更不忏悔●[32:55]在代尔祖尔的迷人星空下【音乐】 "Partita No 2 in d, BWV 1004 IV. Giga (IV. Giga)"（James Ehnes·6 Sonatas & Partitas for Solo Violin·2007·Alliance Records Label）"Memorie"（Argine·Luctamina In Rebus·2001·Ark Records）【logo设计】杨文骥【收听方式】推荐您使用泛用型播客客户端订阅收听《忽左忽右》，也可通过喜马拉雅FM收听。【互动方式】新浪微博：@忽左忽右leftright微信公众号：忽左忽右leftright

iv sonata giga bwv memorie solo violin partita no partitas james ehnes

49 搭顺风车拜访军阀

Play Episode Listen Later Apr 16, 2019 37:20

我们的老朋友刘怡再次做客《忽左忽右》，不久前，他刚刚见证了一段重要的历史现场。刘怡带来了许多有趣的故事和令人感慨的见闻，一起来听听吧。【主持】程衍樑（新浪微博：@GrenadierGuard）杨一（新浪微博：@杨一1）【嘉宾】刘怡，《三联生活周刊》主笔●[02:15]一位大二辍学的叙利亚连长请求刘怡讲述亚洲的历史●[03:40]拉卡的律师六年没有翻过报纸了●[07:20]“小孩害羞是文明的标志”●[09:50]战后三种阶段的三个样板●[12:25]跑掉了的一代人●[13:10]大阿里巴巴和小阿里巴巴●[13:40]有故事的顺风车司机●[16:45]“你知不知道古勒卜丁·希克马蒂亚尔是谁？”●[18:00]刺客假扮记者成风●[19:40]全世界有几十万记者报道过美国总统选举，谁知道阿富汗总统是怎么选出来的？●[20:25]老司机讲述颠沛流离生涯●[22:20]文明社会改变了一个人的价值观●[26:10]今天的军阀曾是昨日的国家精英●[30:45]辩不过就干掉他●[31:40]大人物往往不会反思，更不忏悔●[32:55]在代尔祖尔的迷人星空下【音乐】 "Partita No 2 in d, BWV 1004 IV. Giga (IV. Giga)"（James Ehnes·6 Sonatas & Partitas for Solo Violin·2007·Alliance Records Label）"Memorie"（Argine·Luctamina In Rebus·2001·Ark Records）【logo设计】杨文骥【收听方式】推荐您使用泛用型播客客户端订阅收听《忽左忽右》，也可通过喜马拉雅FM收听。【互动方式】新浪微博：@忽左忽右leftright微信公众号：忽左忽右leftright

iv sonata giga bwv memorie solo violin partita no partitas james ehnes

49 搭顺风车拜访军阀

Left-Right

Play Episode Listen Later Apr 16, 2019 37:20

我们的老朋友刘怡再次做客《忽左忽右》，不久前，他刚刚见证了一段重要的历史现场。刘怡带来了许多有趣的故事和令人感慨的见闻，一起来听听吧。【主持】程衍樑（新浪微博：@GrenadierGuard2）杨一（新浪微博：@杨一1）【嘉宾】刘怡，《三联生活周刊》主笔 [02:15]一位大二辍学的叙利亚连长请求刘怡讲述亚洲的历史 [03:40]拉卡的律师六年没有翻过报纸了 [07:20]“小孩害羞是文明的标志” [09:50]战后三种阶段的三个样板 [12:25]跑掉了的一代人 [13:10]大阿里巴巴和小阿里巴巴 [13:40]有故事的顺风车司机 [16:45]“你知不知道古勒卜丁·希克马蒂亚尔是谁？” [18:00]刺客假扮记者成风 [19:40]全世界有几十万记者报道过美国总统选举，谁知道阿富汗总统是怎么选出来的？ [20:25]老司机讲述颠沛流离生涯 [22:20]文明社会改变了一个人的价值观 [26:10]今天的军阀曾是昨日的国家精英 [30:45]辩不过就干掉他 [31:40]大人物往往不会反思，更不忏悔 [32:55]在代尔祖尔的迷人星空下【音乐】 "Partita No 2 in d, BWV 1004 IV. Giga (IV. Giga)"（James Ehnes·6 Sonatas & Partitas for Solo Violin·2007·Alliance Records Label） "Memorie"（Argine·Luctamina In Rebus·2001·Ark Records）您可以通过网易云音乐、Spotify搜索「忽左忽右 BGM」，获得节目完整歌单。【logo设计】杨文骥【收听方式】推荐您使用「苹果播客」、Spotify或任意安卓播客客户端订阅收听《忽左忽右》，也可通过喜马拉雅FM、蜻蜓FM、荔枝FM、网易云音乐收听。【本节目由JustPod出品】【互动方式】微博：@忽左忽右leftright 微博：@播客一下微信公众号：忽左忽右Leftright 微信公众号：播客一下

spotify iv sonata bgm bwv solo violin partita no partitas fm fm fm

49 搭顺风车拜访军阀

highways bart bach violinists david park partita no

Play Episode Listen Later Apr 16, 2019 37:20

我们的老朋友刘怡再次做客《忽左忽右》，不久前，他刚刚见证了一段重要的历史现场。刘怡带来了许多有趣的故事和令人感慨的见闻，一起来听听吧。【主持】程衍樑（新浪微博：@GrenadierGuard）杨一（新浪微博：@杨一1）【嘉宾】刘怡，《三联生活周刊》主笔●[02:15]一位大二辍学的叙利亚连长请求刘怡讲述亚洲的历史●[03:40]拉卡的律师六年没有翻过报纸了●[07:20]“小孩害羞是文明的标志”●[09:50]战后三种阶段的三个样板●[12:25]跑掉了的一代人●[13:10]大阿里巴巴和小阿里巴巴●[13:40]有故事的顺风车司机●[16:45]“你知不知道古勒卜丁·希克马蒂亚尔是谁？”●[18:00]刺客假扮记者成风●[19:40]全世界有几十万记者报道过美国总统选举，谁知道阿富汗总统是怎么选出来的？●[20:25]老司机讲述颠沛流离生涯●[22:20]文明社会改变了一个人的价值观●[26:10]今天的军阀曾是昨日的国家精英●[30:45]辩不过就干掉他●[31:40]大人物往往不会反思，更不忏悔●[32:55]在代尔祖尔的迷人星空下【音乐】 "Partita No 2 in d, BWV 1004 IV. Giga (IV. Giga)"（James Ehnes·6 Sonatas & Partitas for Solo Violin·2007·Alliance Records Label）"Memorie"（Argine·Luctamina In Rebus·2001·Ark Records）【logo设计】杨文骥【收听方式】推荐您使用泛用型播客客户端订阅收听《忽左忽右》，也可通过喜马拉雅FM收听。【互动方式】新浪微博：@忽左忽右leftright微信公众号：忽左忽右leftright

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Heinrich Ignaz Franz von Biber

Composer of the Week

Play Episode Listen Later Mar 28, 2019 57:20

Donald Macleod explores the music, and what little is known of the life, of Baroque master Heinrich Ignaz Franz von Biber. Biber’s first appearance in the historical records is in his early 20s, when we find him in the service of Karl Liechtenstein, prince-bishop of Olomouc in central Moravia. In this week’s episode, we meet Biber as he runs an errand for his boss, but mysteriously absconds en route, trading in his old employer for a new and even more illustrious one, Prince-Archbishop Maximilian Gandolph von Küenburg. In Salzburg, Biber put down roots, married the daughter of a wealthy local businessman, fathered eleven children and gradually rose through the court ranks to become Kapellmeister. His risky career-gamble had paid off. Donald introduces us to the musical legacy the elusive composer left behind, playing Biber’s best-known work (his Mystery, or Rosary, Sonatas) as well as his music for church and stage. We also learn about his close relationships with the violin and his home of Salzburg, and the five remarkable printed collections of instrumental music that spread his name across Europe. Music featured: Missa Alleluia (Kyrie) Sonata ‘La pastorella’ Battalia a 10 (Sonata di marche) Sonata violino solo representativa Partita VI in D (Harmonia Artificioso-Ariosa) The Rosary Sonatas: The Five Joyful Mysteries Passacaglia in G minor for unaccompanied violin Vesperae longiores ac breviores, 1693 Arminio, or Chi la dura la vince (extracts) Litaniae Sancto Josepho Sonata No 11 in A (Sonatae tam Aris, quam Aulis servientes) Partita No 3 in A minor (Mensa sonoris, seu Musica instrumentalis) Sonata No 3 in F (Sonatae violino solo) Sonata No 12 in A major (Fidicinium sacro-profanum) Partita No 1 in D minor (Harmonia artificioso-ariosa) Balletti a 6 (1. Sonata) Missa Salisburgensis Sonata a 7 Sonata Sancti Polycarpi Presented by Donald Macleod Produced by Chris Barstow for BBC Wales For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Heinrich Ignaz Franz von Biber https://www.bbc.co.uk/programmes/m0003rq6 And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

music europe mystery composer musica salzburg rosary baroque mensa sonata aris biber moravia sonata no olomouc kapellmeister partita no aulis donald macleod battalia heinrich ignaz franz

Bachcast 56: Partita no. 3 for violin, BWV 1006/1006a

Bachcast - biberfan

Play Episode Listen Later Jun 23, 2018 31:17

Bach's third partita contains some amazing music which despite being grounded in dance forms, elicit today a variety of interpretations.

bach violin partita no

Bachcast 54: Partita no. 1, BWV 1002

Bachcast - biberfan

Play Episode Listen Later Jun 16, 2018 54:44

Different performances highlight some of the nuances left behind in Bach's writing; choices in tempo, phrasing, strong/weak notes, and more.

bach partita no

Farm to Table Improvisation with Eyvind Kang

Underscore

Play Episode Listen Later Jun 1, 2018 32:23

Described by Pitchfork as a "musical polymath," composer/violist Eyvind Kang has created and collaborated on hundreds of recordings and countless tours, from his own solo masterpieces to his work with Laurie Anderson, Bill Frisell, Animal Collective, Sun O))), The Decemberists, and Blonde Redhead. On this episode, he tells us about his early inspirations, his favorite project, and the music his teacher thought was garbage. Playlist Here is a Spotify playlist to pair with Underscore Episode 5 with Eyvind Kang. It features hand--picked selections from Chrysanthe and Thomas to encapsulate the conversations and recommendations from the episode. Music Featured in Interview: "Marriage of Days" by Eyvind Kang (iTunes / Spotify) "The Island" by The Decemberists (iTunes / Spotify) "Partita No. 3 in E Major: Preludio" by J.S. Bach (iTunes / Spotify) "Straight Outta Compton" by N.W.A. (iTunes / Spotify) "Giant Steps" by John Coltrane (iTunes / Spotify) "Dhun" by Ravi Shankar (iTunes / Spotify) "Gimme Shelter" by The Rolling Stones (iTunes / Spotify) "It’s a Man’s, Man’s, Man’s World" by James Brown (iTunes / Spotify) "Automatism" by Group Ongaku (YouTube) "Seva" by Jessika Kenney and Eyvind Kang (unreleased) "Cyclades" by Anne Carson, Robert Currie, and Eyvind Kang (unreleased) "Side 1" from Plainlight by Eyvind Kang (LP) Lightning Round Questions What genre is your music? Non--music Performance ritual? Quigong and tai chi A modern/technological tool that’s extremely helpful to your practice? Recording and playback A failure that turned out for the best? He tried to adapt a kacapi (Sudanese zither) technique for the viola but ended up creating a new pizzicato technique for himself instead. Something besides music that you’re obsessed with right now? Agriculture, philosophy, questions of justice and human rights A piece of art that changed your life? The Large Glass by Marcel Duchamp Something Old: Einstein on the Beach -- "Scene 3: Spaceship" by Phillip Glass. (iTunes / Spotify) Something New: Music by Black Composers made a Living Composers Directory. Recommended track: "Starburst" by Jessie Montgomery (iTunes / Spotify) Something Borrowed: "Iron" by Woodkid (iTunes / Spotify) Something Blue: "Prometheus, The Poem of Fire" by Alexander Scriabin (iTunes / Spotify) Credits: Hosts: Thomas Kotcheff and Chrysanthe Tan Script: Chrysanthe Tan Guest: Eyvind Kang Recording engineer: Mark Hatwan Produced by: Chrysanthe Tan Editing: Mark Hatwan Underscore is an extension of the Classical KUSC family Podcast theme: "Playground Day" by Chrysanthe Tan (iTunes / Spotify) Social Media Facebook: /underscorefm Twitter: @underscorefm Instagram: @underscorefm Thomas is @thomaskotcheff on Twitter and Instagram. Chrysanthe is @chrysanthetan on Facebook, Twitter, and Instagram. Facebook group: Join our Facebook group, Underscore Society, to give us your thoughts, request future topics, and connect with other podcast listeners! Newsletter: Sign up for our mailing list to receive Underscore updates, offers, and opportunities to connect with other music aficionados. Email: Thoughts, questions, suggestions? We’re at info@underscore.fm

Episode 3: The stolen Stradivarius

Case Notes

Play Episode Listen Later Apr 4, 2018 48:00

Has something ever been stolen from you? Do you remember the feeling of panic when you realised it was gone? Now imagine if that thing was worth £1.2m. This is the story of violinist Min Kym and what happened when her instrument was taken from her. It’s a tale of giddy love, devastating loss and the healing power of music. Original music was written by Thomas Hewitt Jones (@thewittjones). Tim Lihoreau can be found on Twitter (@TimLihoreau) and the Classic FM team can be found @ClassicFM. You can get in touch about the show at classicfm.com and find out more about this episode at classicfm.com/casenotes The recordings featured in this episode are: Bach: Sarabande from Partita No.2 in D minor Min Kym (violin) Brahms: Violin Concerto, II Adagio Min Kym (violin), Philharmonia Orchestra/Andrew Davis Paganini: Caprice, Op.1 No.16 Min Kym (violin) Bach: Adagio from Sonata No.1 in G minor Samuel Staples (violin) playing a 1684 Stradivarius violin Massenet: Méditation from ‘Thaïs’ Min Kym (violin), Gordon Back (piano) Bach: Chaconne from Partita No.2 in D minor Alina Ibragimova (violin) Saint-Saëns: Introduction and Rondo Capriccioso Min Kym (violin), Gordon Back (piano) Lalo: Symphonie Espagnole Min Kym (violin), London Symphony Orchestra/Barry Wordsworth Chausson: Poéme Min Kym (violin), Gordon Back (piano)

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Violinist David Park

Highway 89

Play Episode Listen Later Mar 27, 2018 40:09

Acclaimed violinist David Park returns to Highway 89 to celebrate Bach's 333rd birthday, treating us to Bach's Partita No. 1 in its entirety, along with a Bartók fugue.

Bachcast 51: Partita no. 6 for Keyboard

Bachcast - biberfan

Play Episode Listen Later Mar 1, 2018 42:47

In this episode we find thematic links between movements in Bach's final suites for keyboard in his opus 1.

bach keyboard partita no

Classical music spring preview with Eric C. Simpson and Jay Nordlinger

The New Criterion

Play Episode Listen Later Jan 30, 2018 53:36

Associate Editor Eric C. Simpson and music critic Jay Nordlinger discuss their highlights for the second half of the 2017–18 music season in New York. Lead-in/lead-out music: J. S. Bach, Chaconne from Partita No. 2 in D minor for solo violin, performed by Eric C. Simpson. Image by Nils Olander via Creative Commons

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82: Finding Patterns (ft. Geraldine Cox)

Science Mixtape

Play Episode Listen Later Nov 27, 2017 47:17

Geraldine Cox is artist in residence at Imperial College. She combines art and physics to find patterns in nature and new ways of expressing them. From wave patterns inside atoms, to the music in light, to 30,000 triangles that represent different ways of seeing, Geraldine shares her inspiration and how her art always starts with asking the right question. Plus Matilda has a go at building a complex image using a only a simple stamp. Mixtape: 1. Les Boreades, Act 5 Prelude by Rameau 2. Trio Sonata in C Major (BWV 1037) by Bach 3. Fly Me to the Moon by Frank Sinatra 4. Cadenza from Brandenburg 5, harpsichord solo, by Bach 5. Chaconne, Partita No. 2 (BWV 1004) by Bach 6. Full Moon by Du Fu

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Franz Joseph Haydn_ Keyboard Sonata (Partita) No. 15 in E major, Hob.XVI_13_ I.

古典音乐收割机

Play Episode Listen Later Nov 21, 2016 4:09

音乐是财富、是一种心情、是一个改变自己的方式。它能表达出你的心情，释放你的压力，找到你的共鸣！

keyboard sonata e major franz joseph haydn partita no

Franz Joseph Haydn_ Keyboard Sonata (Partita) No. 15 in E major, Hob.XVI_13_ II.

古典音乐收割机

Play Episode Listen Later Nov 21, 2016 3:41

音乐是财富、是一种心情、是一个改变自己的方式。它能表达出你的心情，释放你的压力，找到你的共鸣！

keyboard sonata e major franz joseph haydn partita no

Franz Joseph Haydn_ Keyboard Sonata (Partita) No. 15 in E major, Hob.XVI_13_ III

古典音乐收割机

Play Episode Listen Later Nov 21, 2016 2:49

音乐是财富、是一种心情、是一个改变自己的方式。它能表达出你的心情，释放你的压力，找到你的共鸣！

keyboard sonata e major franz joseph haydn partita no

226. Showstoppers

The Concert - Isabella Stewart Gardner Museum

Play Episode Listen Later Nov 14, 2015

Works for solo piano by Bach and Ravel performed by Ji, piano on April 12, 2015.Bach: Partita No. 1 in B-flat Major, BWV 825Ravel: La ValseFirst, we have the less razzle-dazzle of the pair: Bach’s Partita No. 1 in B-flat Major. The piece opens with a fairly serene, lilting theme. The second movement gets a bit more rollicking, with dotted rhythms and skips in the bass. And the final movement has some more virtuosic passagework.After that comes the real fireworks: Ravel’s famous La Valse. The composer’s own introduction is really the best way to describe what happens over the course of the piece: “Through whirling clouds, waltzing couples may be faintly distinguished,” he writes. “The clouds gradually scatter: one sees an immense hall peopled with a whirling crowd. The scene is gradually illuminated. The light of the chandeliers bursts forth.” As the piece goes on, it seems to get more and more out of control, ending in a frenzy that recalls a danse macabre—a dance to the death.Ravel originally wrote the work for orchestra, and he intended it to be choreographed as a ballet. But when he presented the score to the Russian impresario Diaghilev, he refused. The piece was a masterpiece, Diaghilev said, but it shouldn’t be danced: it was itself a portrait of the ballet—no dancers required.

Aaron Rosand, The Last Romantic Violinist - Part 2

A Musical Life with Hugh Sung

Play Episode Listen Later Nov 2, 2015 43:49

In part 2 of my interview with violinist Aaron Rosand, we delve into the obstacles he faced early in his career, the wisdom he shares with his students about life as a musician as well as why he fell in love with his beloved ‘Kochanski' 1741 Guarneri violin, the violin that was his voice for 50 years. If you enjoy this show, please click this link to post a review on iTunes. I really appreciate your support! Musical Selections Glazunov Meditation, Op. 32 (CD) Glazunov Concerto/Meditation (MP3 Album) Bach Chaconne from Partita No. 2 in D minor, BWV 1004 Chopin Nocturne No. 2 in E-flat major with John Covelli, piano Gershwin Tempo di Blues with John Covelli, piano Frank Sinatra: Laura Brahms Sonata No. 1 in G major, Op. 78 I. Vivace ma non troppo with Hugh Sung, piano Note: The musical selection links are affiliate links, meaning that when you make a purchase I receive a small commission from Amazon at no extra cost to you. This is how I am able to provide new episodes for you. Thank you for your support! Additional Links www.AaronRosand.com

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Partita No.2 in D minor (NEW EDITION) for violin solo by Johann Sebastian Bach - Video Score

VSM: Video Scores

Play Episode Listen Later Oct 15, 2015 1:15

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Tempo di Borea

Banjo Hangout Top 100 Bluegrass (Scruggs) Songs

Play Episode Listen Later Nov 12, 2013

This is from Partita No.1 in B minor

tempo partita no

Tempo di Borea

Banjo Hangout Top 100 Classical Songs

Play Episode Listen Later Nov 12, 2013

This is from Partita No.1 in B minor

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Tempo di Borea

Banjo Hangout Top 100 Classical Songs

Play Episode Listen Later Nov 11, 2013

This is from Partita No.1 in B minor

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Bach Partita No. 3

Banjo Hangout Newest 100 Classical Songs

Play Episode Listen Later Mar 21, 2013

A version from tab by John Bullard from his Bach on the Banjo book and CD. I now have 104 measures out of 136 memorized. Hopefully will be able to play it all well some day. This version is not current, but representative of what I have done so far.

cd bach banjo partita no john bullard bach partita

Bach Partita No. 3

Banjo Hangout Newest 100 Classical Songs

Play Episode Listen Later Mar 21, 2013

A version from tab by John Bullard from his Bach on the Banjo book and CD. I now have 104 measures out of 136 memorized. Hopefully will be able to play it all well some day. This version is not current, but representative of what I have done so far.

cd bach banjo partita no john bullard bach partita

Bach: Partita No. 1 in B flat: Menuet 2

Lisztonian: Classical Piano Music

Play Episode Listen Later Jun 8, 2009 0:54

This is the second of two menuets found in Bach's Partita No. 1 in B-flat major (Opus 1). I've always enjoyed this brief section of the work and it includes some tricky finger work despite the deceitfully simple harmonies. Bach certainly had a way of emphasizing the subtle harmonies to invigorate the soul! Bach himself wrote the following on the title page of the first volume of the Clavierubung (which consists of the 6 partitas): Keyboard Training, consisting of Preludes, Allemandes, Courantes, Sarabandes, Gigues, Menuets and other Galanteries, dedicated to Music Lovers for the Pleasure of their Minds

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WPAS previews pianist Krystian Zimerman’s April 8th recital at The Music Center at Strathmore, in which he’ll perform Bach’s Partita No. 2, Beethoven’s Piano Sonata No. 32, Brahms’ Klavierstrücke, Op. 119 and Szymanowski’s Variations on a Polish Theme. Purchase tickets at 202-785-WPAS or WPAS.org. Taking Note is part of WPAS’ "Between the Lines" podcast series.

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Partita No. 1 in B flat Major Opus 1 - Sarabande

SignMyPiano: Romantic Wedding Music

Play Episode Listen Later Dec 27, 2008 5:11

opus johann sebastian bach sarabande b flat major wedding music partita no romantic music

Bach: Partita No. 1 in B flat Major Opus 1 - Sarabande

Lisztonian: Classical Piano Music

Play Episode Listen Later Dec 27, 2008 5:11

This Sarabande is an excerpt from Bach's Partita No. 1 in B-flat. I have also recorded the Praeludium previously. I have always loved the serene melody that makes up this Sarabande. I play this piece much slower than is typical in a performance. However, I find it to be so exquisite and sonorous that I can't help but relish in every chord and beat. This is one of those works that I will often pull out at times when I want to reflect or meditate. It is perfect for moments when only music can express the joy and peace that life can and should supply.

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Partita No. 1 in B flat Major Opus 1 - Sarabande

SignMyPiano: Jessika's List - Music for Falling Asleep

Play Episode Listen Later Dec 27, 2008 5:11

opus johann sebastian bach relaxing music sarabande b flat major partita no sleeping music

Chaconne from the Partita no. 2 in D Minor by J. S. Bach

Bach Performed on "The Antonius" by Stradivari - Video

Play Episode Listen Later Dec 13, 2008 15:42

Stradivari, violin, Bach, Eric Grossman

bach d minor js bach stradivari chaconne partita no

Chaconne from the Partita no. 2 in D Minor by J. S. Bach

Musical Instruments - Video

Play Episode Listen Later Dec 13, 2008 15:42

Stradivari, violin, Bach, Eric Grossman

bach d minor js bach stradivari chaconne partita no

Partita No. 4 in D Major, BWV 828, Bach

Play Episode Listen Later Aug 13, 2008 1:03

Partita No. 4 in D Major, BWV 828, Bach

Play Episode Listen Later Aug 13, 2008 2:30

Partita No. 4 in D Major, BWV 828, Bach

Play Episode Listen Later Aug 13, 2008 3:02

Partita No. 4 in D Major, BWV 828, Bach

Play Episode Listen Later Aug 13, 2008 5:53

Partita No. 4 in D Major, BWV 828, Bach

Play Episode Listen Later Aug 13, 2008 4:17

Partita No. 4 in D Major, BWV 828, Bach

Play Episode Listen Later Aug 13, 2008 1:11

Partita No. 4 in D Major, BWV 828, Bach

Play Episode Listen Later Aug 13, 2008 4:50