Podcasts about Songs Without Words

Some of you may not know this about me, but I'm a musician and an artist.I always loved art as a kid—from finger painting in my blue smock at my Little Tikes easel to coloring and tracing to the pastel class I took one summer. For a while, my answer to the question, “What do you want to be when you grow up?” was “An artist or illustrator.”Music was always there, too—singing and playing the piano, learning letter names as I learned the alphabet, and later, accompanying, teaching, performing, and arranging.At some point, I set art aside to focus on music. I still did craft projects from time to time, but I didn't consider myself an artist.Then, during the pandemic, I found myself drawn to it again. In between online lessons, baking Jim Lahey's No-Knead Bread, and reading through Mendelssohn's Songs Without Words, I watched online painting tutorials. I practiced mixing colors in an art app on my iPad. I ordered supplies and started painting tiny acrylic landscapes.Now, five years later, I have a dedicated art table in my home office. I have a somewhat regular artistic practice alongside my music work. I've found that painting is a different facet of my creativity, a new form of artistic expression. And I have to say, it makes me come alive—to embrace my creativity as a whole, to invest in multiple aspects of my creative self at once.And I'm not the only one. From Felix Mendelssohn to Arnold Schoenberg, Joni Mitchell to Miles Davis, many musicians have found painting to be another form of artistic expression that complements and informs their musical side.In this episode, I'm exploring what art is teaching me about music. Whether you consider yourself an artist or not, I hope this inspires you to think about all the different facets of your creative self—and how to embrace them in your work.For show notes + a full transcript, click here.Resources Mentioned*Disclosure: I get commissions for purchases made through some of these links.Songs Without Words (Mendelssohn)On the Spiritual in Art (1910) (Kandinsky)Pictures At an Exhibition (Mussorgsky)Clair de Lune (Debussy)“October,” Lyric Preludes (Gillock)Piano Mastery (1915) (Brower)“Waltz for Miles,” Portraits in Jazz (Capers)“Rainbow Colors,” Piano Safari Repertoire 2 (Hague)Prelude in C, Op. 11, No. 1 (Scriabin)My artistic processDaily Rituals: How Artists Work (Mason Currey)Join the Musician & Co. Book Club (it's free!)On Developing a Daily Ritual: Insights From Mason Currey's BookIf you enjoyed this episode, please leave a review in Apple Podcasts >>Find me on Instagram: @ashleydanyewWhenever you're ready, here are three ways we can work together:1️⃣ Need fresh teaching ideas? Schedule a quick 25-min. call and we'll brainstorm on a topic of your choice. Build an idea bank that you can pull from in the months to come.2️⃣ Have questions about teaching or managing your music career? Book a 60-min call and get personalized advice, creative ideas & step-by-step strategies on up to 3-4 teaching/business topics.3️⃣ Develop the skills and strategies you need to plan the year, refine your teaching methods, and manage your time more effectively with a suite of online courses and professional development trainings

Cellist Peter Gregson showcases his signature cello and synthesizer sound in his self-titled portrait album of nine modern songs without words. Learn more in this Classical Conversation, hosted by Mary Claire Murphy.

In gratitude for his assistance, Lord and Lady Pelennor invite Falk to visit their estate. Is there no end to their generosity? Is there no escape? Is chili better than rashers for your supper? Listen to find out!Zildjian's Away to Shropshire, episode 108 of This Gun in My Hand, was lorded over by Rob Northrup. This episode and all others are available on Youtube with automatically-generated closed captions of dialog. Visit http://ThisGuninMyHand.blogspot.com for credits, show notes, archives, and to buy my books, such as Little Heist in the Big Woods and Other Revisionist Atrocities. How do I resolve the endless yearning between two hearts and bring them together? With This Gun in My Hand!Show Notes:1. This episode is a spin-off from the fake commercial “Henley's Away to Shropshire” in episode 73, and partly inspired by season one of Sanditon.2. Another example of rich or middle class Brits taking strange children into their homes is Wuthering Heights. I'm aware of the fan theory that Heathcliff is an illegitimate son of Mr. Earnshaw, which explains why Earnshaw would favor the boy over his own children. But the cover story Earnshaw apparently expects everyone to believe is that he adopted a kid off the street at random. As Eighteenth Century Brits were wont to do, I guess?3. Lord Pelennor uses the word “arse,” so it's not cussing by American standards even though they pronounce it exactly the same way as that other word. Not going to mark this episode as having “explicit language.” Credits:The opening music was from The Sun Sets at Dawn (1950), and the closing music was from Killer Bait (1949), both films in the public domain. Most of the music and sound effects used in the episode are modified or incomplete versions of the originals.Song Title: The Fairy Queen, Z. 629Composed by Henry Purcell, 1692.Performed by Carl Pini, John Tunnell, Anthony Pini and Harold Lester.License: Public Domainhttps://musopen.org/music/11140-the-fairy-queen-z629/Song Title: Consolation, Songs Without Words, Op. 30, No. 3, Adagio non troppo (E major)Composed by Felix MendelssohnPerformed by AnonymousLicense: Public Domainhttps://musopen.org/music/348-songs-without-words-op-30/Sound Effect Title: Outdoor ambience near a forest with birdsong (Midlands, England)License: Public Domainhttps://freesound.org/s/727609/ Sound Effect Title: R22-05-Two Horses on Dirt Road.wavLicense: Public Domainhttps://freesound.org/people/craigsmith/sounds/479790/Sound Effect Title: G52-10-Horse and Buggy.wavLicense: Public Domainhttps://freesound.org/people/craigsmith/sounds/437081/Sound Effect Title: 20070918.galloping.horse.waveBy dobroide License: Creative Commons Attribution 4.0https://freesound.org/s/41180/Sound Effect Title: S01-01_Horse trots in on hard dirt; stops; trotting out.wavLicense: Public Domainhttps://freesound.org/people/craigsmith/sounds/675422/?Sound Effect Title: Horse-drawn carriage - Approach and stop.wavBy Sirderf License: Creative Commons Attribution 4.0https://freesound.org/s/333680/Sound Effect Title: stomp01.wav By JanKoehlLicense: Creative Commons Attribution 4.0https://freesound.org/s/85600/Sound Effect Title: G38-03-Horse Gallops Through Leaves.wav License: Public Domainhttps://freesound.org/s/437096/ Sound Effect Title: horse snort breathe eat recordingLicense: Public Domainhttps://freesound.org/s/531429/Sound Effect Title: Horse Whinny 1.wav By GoodListener License: Creative Commons Attribution 3.0https://freesound.org/s/322445/Sound Effect Title: Fist banging on wood surface.wavBy 221339License: Creative Commons Attribution 4.0https://freesound.org/s/655133/The image accompanying this episode is a modified detail of a panel from Stories by Famous Authors Illustrated #1, August 1950, in public domain, pencils and inks by Jim Lavery.

A grand piano slowly climbs the stairs in Glasgow, a man in Brighton keeps finding his upright pianos going missing, a piano decays slowly in the woods while a grandson finds himself thrust into the role of a ship's pianist. Josie Long presents short documentaries and audio adventures with a piano at their heart.Pianos Aren't His Forte Featuring Mark Campbell Produced by Phil Smith Including piano performances from Mark Campbell and Songs Without Words composed by Felix Mendelssohn and performed by Vassily Primakov from the Free Music ArchivePiano in the Woods Written and produced by Ross Sutherland Featuring performances from the project Piano in the Woods by the improviser, artist and curator Sam Bailey. You can learn more about the project at pianointhewoods.comTwo, Three, Hup Produced by Steve Urquhart Featuring piano performances by Steve UrquhartSeries Producer: Eleanor McDowall Curated by Axel Kacoutié and Eleanor McDowall A Falling Tree production for BBC Radio 4

Tom Service talks to composer Anna Meredith as her soundtrack to the poetic British film The End We Start From, and starring Jodie Comer, is featuring in cinemas across the UK. She talks in detail about the compositional process; from the very beginning as she hums a tune and records it onto her phone, to the workings required to produce music that is full of irresistible energy. Pianist Igor Levit talks to Tom about his new album featuring Mendelssohn's Songs Without Words. He talks about his admiration for Busoni and the deep emotion and connection he feels when he plays music by Mahler.

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Adam Woolf, trombonist and sackbut specialist from the UK. Meet us at the SoCal Trombone Day on January 20th, 2024 at Mt. San Antonio College in Walnut CA, or see us at Booth #271 at the TMEA Convention, February 8th thru 10th, 2024 in San Antonio Texas. About Adam Woolf For many years Adam Woolf enjoyed a full-time career as a performing musician working with the very best classical music ensembles, festivals and orchestras around the globe. He complemented this by teaching at world-leading institutions around Europe. as professor of Historical Performance and Baroque Trombone at London's Royal Academy of Music, The Conservatoire of Utrecht, Royal Conservatoire of Brussels and the Conservatory of Amsterdam. Adam is proud to have had a part in the development of many fantastic musicians in today's classical music scene. As a performer, Adam played with top orchestras in the world of period-instrument performance, notably as first trombone with Sir John Eliot Gardiner's English Baroque Soloists, a member of His Majestys Sagbutts and Cornetts, and the Caecilia-Concert. Alongside this, he continued playing the modern instrument with London-based ensemble Mardi Brass and other groups. His love of jazz and contemporary music led to the creation of new compositions and experimental projects. Adam has recorded over 100 CDs and DVDs, among which he am proud to count two solo projects, Songs Without Words and The Food of Love. Songs Without Words was the first full length CD to focus on the trombone as a solo instrument exclusively in music from the 16th and 17th centuries. Alongside his output of recordings, some of which are available via this website, he also published various books which focus on historical performance practise on the trombone, also available here.

The Kaha Trio brings us the Winter Wanderer -  a journey through two piano trios from Felix Mendelssohn and Joseph Haydn.  Haydn's Trio in G major, is also nicknamed the ‘Gypsy' trio . As a lover of folk music, Haydn incorporated the tunes from the Verbunko dances performed by Austrian soldiers which can be especially heard in the rondo movement of this work.  Felix Mendelssohn wrote his second Piano Trio in 1845, in the final years of his life, by which time he had developed a rich harmonic language.  Throughout , one can hear reflections of his Songs Without Words and also his Midsummers Nights Dream while the finale introduces a Lutheran Chorale tune. The piece races to the finish line in a fortissimo final cadence worthy of a concerto.

The Shrews are joined by Jennifer Vosters, a FlagShakes acting and directing alum who has written a one woman play, Songs Without Words. We also pick her brian about what it is like to live and work in Chicago, and about how the heck she got an agent… Tune in every third Sunday of the month on YouTube, SunSounds.org, or wherever […]

Michael Cai and William Sun are both students of Richard Mapp at the University of Auckland.  Michael is a Masters student who is also an accomplished percussionist, playing with the Auckland Youth Orchestra and other ensembles.  William is a second year student who also plays the trumpet in a number of ensembles.  Together they present a programme of works by beloved composers for the piano, including Beethoven's monumental C minor Variations, and works by Ravel and Debussy.

Andante espressivo in Eb Major. Twitter: @PianoRhapsody Email: pianorhapsodypodcast@gmail.com Find PianoRhapsody on SoundCloud for this recording and more!

Adagio in D Major. Twitter: @PianoRhapsody Email: pianorhapsodypodcast@gmail.com Find PianoRhapsody on SoundCloud for this recording and more!

Andante Espressivo in A Minor. The Big Bad Wolf of the SWW. Twitter: @PianoRhapsody Email: pianorhapsodypodcast@gmail.com Find PianoRhapsody on SoundCloud for this recording and more!

The last thing Stephen Colbert wants to hear before he dies. Twitter: @PianoRhapsody Email: pianorhapsodypodcast@gmail.com Find PianoRhapsody on SoundCloud for this recording and more!

We jump ahead to the Romantic period to welcome another new composer to the podcast, Mr. Felix Mendelssohn, and his greatest contribution to the piano, his Songs Without Words. We discuss The Rolling Stones, Stephen Colbert, and sibling ghostwriting. Twitter: @PianoRhapsody Email: pianorhapsodypodcast@gmail.com Find PianoRhapsody on SoundCloud for this recording and more!

Hola familia mágica, Muchos hermanos compartieron el amor por la música. Vamos a conocer a algunas familias  que no solo fueron hermanos sino compositores.  Fanny y Félix Mendelssohn Los hermanos Bach  Los hermanos Strauss Las hermanas Boulanger   Linka video de caja musical: https://youtu.be/nlPHd1ezgL4 La música de este episodio 00:34  The Hebrides, Op. 26 por Félix Mendelssohn. Interpretado por Hamburg Symphony Orchestra & Alois Springer 02:07  Concerto in E Minor for Violin and Orchestra, Op. 64: I. Allegro molto appassionato (attacca) por Félix Mendelssohn. Interpretado por Jaime Laredo & Scottish Chamber Orchestra.  02:48  A Midsummer Night's Dream, Op. 61: III. Wedding March por Félix Mendelssohn. Interpretado por Rochester Philharmonic Orchestra & Theodore Bloomfield.  03:21  Songs Without Words, Op. 62: Spring Song in A Major (Allegro grazioso) por Félix Mendelssohn. Interpretado por Anton Nanut & RTV Slovenia Symphony Orchestra.  04:10  The Hebrides, Op. 26 por Félix Mendelssohn. Interpretado por Hamburg Symphony Orchestra & Alois Springer 05:30  Presto für eine Spieluhr Nr. 30 por C.P.E. Bach. Interpretado por Bernhard Schneider an der Klais-Orgel von St. Aegidien, Braunschweig. 07:25  Concerto for Pianoforte Op. 13 No. 6 in E flat por Johann Christian Bach. Interpretado por Anders Muskens & Das Neue Mannheimer Orchester. 08:44  On the Beautiful Blue Danube, Op. 314 por Johann Strauss II. Interpretado por David Parry & London Philharmonic Orchestra.  11:33  3 Pieces for cello and piano por Nadia Boulanger. Interpretado por Dora Kuzmin & Petra Gilming.   Si te gusta el episodio, califícalo en tu app favorita  o puedes dejar tu review. :)  No te pierdas ningún episodio. Suscríbete a la newsletter en allegromagico.com/suscribirme y aprendan conmigo sobre música clásica. Síguenos en: Facebook, Twitter, Instagram y Pinterest.  Web: allegromagico.com    ¿Quieres aprender lo básico de música clásica de forma fácil? Checa nuestra guía para jóvenes y adultos.  ¿Ya han escuchado tus niños uno de los cuentos musicales más llamativos que existen? Las Cuatro Estaciones de Vivaldi es una obra ideal para niños. 

Audiophile and electronics pioneer Joseph Tushinsky had a refurbished Vorsetzer in his home and over the years collected some 2,800 Welte piano rolls and created this radio show in his living room. Jakob Ludwig Felix Mendelssohn Bartholdy (3 February 1809 – 4 November 1847), born and widely known as Felix Mendelssohn, was a German composer, pianist, organist and conductor of the early Romantic period. Mendelssohn's compositions include symphonies, concertos, piano music, organ music and chamber music. His best-known works include the overture and incidental music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, the oratorio St. Paul, the oratorio Elijah, the overture The Hebrides, the mature Violin Concerto and the String Octet. The melody for the Christmas carol "Hark! The Herald Angels Sing" is also his. Mendelssohn's Songs Without Words are his most famous solo piano compositions.

Felix Mendelssohn was a prolific German composer who was influenced by J.S. Bach's music all his life. He used Bach's musical ideas both as a composer and performer.

Felix Mendelssohn (1809-1847) was a prolific German composer and performer who was greatly influenced by the music of J.S. Bach.

Felix Mendelssohn (1809-1847) was a prolific German composer who was influenced by J.S. Bach's music all his life as a composer and performer.

In the first episode of our second season, we return to the topic of Covid-19. Together with representatives from Berks Arts and the Reading Musical Foundation, we explore how the pandemic continues to impact the arts in our community. We also talk to Wes Cipolla from the digital newspaper Berks Weekly on the return of music reviews.Hosts: Christopher Hoster and Scott TiceFeatured Music: En Bateau from 'Petite Suite' by Debussy (OCTAVO's theme)Op.19, No.1 from Songs Without Words by Felix Mendelssohn*Played by Geert Ruelens and Diana Cook For more information about Opus One: Berks Chamber Choir, visit: www.OpusOneChamberChoir.com

From the Barber of Seville to Aranjuez to composer, Andrew Keeling to Felix Mendelssohn....

Synopsis On this date in 1842 that Felix Mendelssohn presented himself at Buckingham Palace in London, as the invited guest of Queen Victoria and the royal consort, Prince Albert.  In 1842 Victoria was not the plump matron so familiar from later portraits, but a slim woman of 23.  Elegant Prince Albert, a fine amateur musician and composer of some charming songs, was the same age.   Mendelssohn himself was 33, although the 20-something Queen wrote in her diary that she thought he looked  “a bit older.” Mendelssohn played some of his “Songs Without Words,” and improvised on “Rule Britannia” and the “Austrian National Anthem.” Victoria and Albert were impressed, so Mendelssohn was invited back for more visits. Victoria presented him with a ring engraved “V.R. 1842”—the initials standing for “Victoria Regina.”  In return, Mendelssohn dedicated to her his newly completed Third Symphony, the “Scottish,” a work he had begun many years earlier during a walking tour of Scotland during his first visit to Britain. Curiously, although this “Scottish” Symphony was the fifth and final of Mendelssohn's symphonies to be completed, it was the third to be published, and so has subsequently been known as Symphony No. 3. Music Played in Today's Program Felix Mendelssohn (1809 – 1847) — Symphony No. 3 (Scottish) (London Symphony Orchestra; John Eliot Gardiner, cond.) LSO 765

Synopsis On this date in 1842 that Felix Mendelssohn presented himself at Buckingham Palace in London, as the invited guest of Queen Victoria and the royal consort, Prince Albert.  In 1842 Victoria was not the plump matron so familiar from later portraits, but a slim woman of 23.  Elegant Prince Albert, a fine amateur musician and composer of some charming songs, was the same age.   Mendelssohn himself was 33, although the 20-something Queen wrote in her diary that she thought he looked  “a bit older.” Mendelssohn played some of his “Songs Without Words,” and improvised on “Rule Britannia” and the “Austrian National Anthem.” Victoria and Albert were impressed, so Mendelssohn was invited back for more visits. Victoria presented him with a ring engraved “V.R. 1842”—the initials standing for “Victoria Regina.”  In return, Mendelssohn dedicated to her his newly completed Third Symphony, the “Scottish,” a work he had begun many years earlier during a walking tour of Scotland during his first visit to Britain. Curiously, although this “Scottish” Symphony was the fifth and final of Mendelssohn's symphonies to be completed, it was the third to be published, and so has subsequently been known as Symphony No. 3. Music Played in Today's Program Felix Mendelssohn (1809 – 1847) — Symphony No. 3 (Scottish) (London Symphony Orchestra; John Eliot Gardiner, cond.) LSO 765

Glasgow-based @miltonjackson (real name Barry Christie) released his first EP aged 18 on @tronicsole way back in 2001. An album for @glasgowunderground entitled "The Bionic Boy" was released in 2001. Romanthony was such a big fan of the 3rd single ‘Dimensional’ that he asked to remix it, a huge honour for Milton. After the success of "Bionic Boy" and the accompanying live tour (taking in venues like @rexclub in Paris), EPs were completed for the likes of Black Vinyl, Bear Trax (Milton’s own label) and Omid 16B’s Alola (@sexonwax). Milton even worked with a young Mylo on their ‘Pretty Boys’ project. In 2006 a new relationship was formed with @jimpster’s @freerangerecords and saw collaborations with fellow deep house don @shurikan. 2009 was topped off with a win in the DJ Awards in the Deep House category. Milton picked up his award at Pacha in Ibiza alongside the likes of @petetong, @lucianocadenza and Sven Vath. Moving into the 2010s Milton remixed Recloose for Carl Craig’s (@planetedetroit) Planet E and turned in big remixes for Joey Negro’s (@daveleezr) Z Records, 8 Bit and Jef K’s hit “In My System” on Silver Network. He also released "Breathe" on Neurotraxx records. A new collaboration with Munich’s SHOW-B called “Pattern Select” saw the pair release a critically acclaimed EP on @delusionsofgrandeur and a remix for @huxley_uk imprint @saints-n-sonnets. 2012 saw no let up for Milton as he continued to DJ worldwide and release for Freerange (new track DSI), @tsuba vinyl imprint and Black Key Records. 2013 saw Milton take a break from house music after the birth of his children and after an 18 month layoff he returned to Kevin Griffiths’ Tsuba label with his ‘Your Love’ EP. Your love received many plaudits with @traxsource claiming: "Milton Jackson returns and it’s worth the wait!" Milton also recorded a special track for Freerange’s 20th anniversary boxset release called "Songs Without Words". In 2020, 20 years after his first release Milton is still releasing quality EPs - a new 4 tracker for @rawax-chiwax-housewax imprint Housewax was released, plus he has been recording further material with his old partner in music, Shur-i-kan and @matt-masters plus a new solo EP for Freerange. Overall throughout his career Milton has around 60 releases to his name, 2 albums and notched up over 100 remixes, not to mention appearing on hundreds of compilations around the world. Stay Rave with #R13!

Each of Felix Mendelssohn's eight books of Songs Without Words is a cycle of six short, distinctive pieces in song form for solo piano. This arrangement of his Book 3 for oboe and piano is by the eminent French oboist and composer David Walter.Mendelssohn's friend Marc-André Souchay once asked for permission to set his own poems to the Songs Without Words. Mendelssohn refused, and explained: “What the music I love expresses to me is not too indefinite to put into words, but on the contrary, too definite.” Song number 6 was given the title Duetto by Mendelssohn. It was composed in Frankfurt in June 1836, soon after he had met his future wife.Book III, opus 38 (1836-37)Con motoAllegro non troppoPresto e molto vivaceAndanteAgitatoDuetto. Andante con moto

As "early" musicians, the members of Les Délices have committed their professional lives to gaining an understanding of old music and instruments that inspire and excite them. However, while reading about or exploring scores from the 17th or 18th centuries may provide insight, it’s inevitable that those can offer only incomplete information. The three musicians who comprise Les Délices believe the space between what is known and what is unknown provides great opportunities for expansion and discovery. They’ve taken just such a creative leap on their newest album, SONGS WITHOUT WORDS. Purchase the music (without talk) for only $2.99 at: http://www.classicalsavings.com/store/p756/Songs_without_Words_%28Digital_Download%29.html 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 Support us on Patreon https://www.patreon.com/user?u=4186107 staff@classicalmusicdiscoveries.com

Composed in 1839 at age 30, this piece is universally recognised as one of Mendelssohn’s greatest works. Written in the backdrop of Romantic angst, Mendelssohn employs a Schumannesque style and broad melodies to enrapture the audience. The first movement dives straight in with a dark cello melody followed by the violin’s counter-melody. All throughout, the piano’s syncopation and flying arpeggios creates the atmosphere of agitation. The second movement then expresses a peaceful and beautiful theme taken from one of Mendelssohn’s own Songs Without Words. The spirited scherzo ricochets the melody between the musicians whilst also reminiscing the thematic material from the first movement. The finale mirrors the first movement with its lyrical contrast between the dark and cheerful moods underpinned by the busy and complex piano part with whirling arpeggios and chromatic octaves. The trio finishes with a modulation to the dominant major culminating in a charming and definitive ending.

We know that practicing is important to our work as professional musicians, even if we aren’t performers. Staying connected to your instrument helps keep your musicianship skills sharp — your aural awareness and reading abilities, your commitment to a beautiful tone and balance and expression. It helps you stay in shape technically, whether that’s keeping your fingers in shape, maintaining good breath support and airflow, or keeping a healthy, strong embouchure.Playing your instrument makes you a better teacher, too, because you’re in it — you know what practicing requires and you know how to pick and choose the strategies that will help you be most efficient with your time.All this to say, practicing a few times during the week is a great way to stay connected to the art of music-making and maintain a high level of technique and musicianship.With that said, here are a handful of quick tips for practicing efficiently in 30 minutes or less:For show notes, click here.Related resources:Please note: some of these links are affiliate links, which means if you decide to purchase through any of them, I will earn a small commission. This helps support the podcast and allows me to continue creating free content. Thank you for your support!Songs Without Words by Felix MendelssohnSight-Reading and Rhythm Every Day series by Helen MarlaisEpisode 007 - Let’s Start at the Very Beginning4 Reasons Why Playing Your Instrument for Fun is Vital to Your Music CareerPulse app - a metronome for your phone3 Tips for Playing Open Score (for Choral Accompanists Everywhere)The Church Musician Primer - a 4-week online keyboard skills class (enrollment opens 10/20)

Today's compositions have been arranged for oboe d'amore and piano. Most were composed for other instruments, but Debussy designated oboe d'amore (on the top staff of the score!) in his orchestration of “Gigues” for Images for Orchestra.The modern oboe d'amore is a slightly larger and lower-pitched version of the modern oboe, with a globular bell. These differences from the standard oboe lend it a mellower, less edgy tone that blends nicely with other instruments and with the human voice. Its native pitch of “A” below middle “C” places it in the sweet spot among melody instruments.  1      “Andante sostenuto” (originally for solo piano) from Songs Without Words          by Felix Mendelssohn (Germany, 1809-1847)2      “Adagio” (originally for solo piano) from Songs Without Words3      “Salut d'Amour” by Edward Elgar (England, 1857-1934) (originally for violin          and piano)4      “Arietta” by S. M. Maykapar (Ukraine, 1867-1938) (originally for solo piano)5      “Gigues” from Images by Claude Debussy (France, 1862-1918) (originally for          oboe d'amore and orchestra,)#1-2 were arranged by David Walter and published by Billaudot.#3-5 were arranged by Robert Rainford and published by Forton Music

Songs Without Words by Felix Mendelssohn (1809-1847)  Each of Felix Mendelssohn's eight books of Songs Without Words is a cycle of six short, distinctive pieces in song form for solo piano. This arrangement of his Book 2 for oboe and piano is by the eminent French oboist and composer David Walter.Mendelssohn was probably the first composer to use the title “Songs Without Words.” His  friend Marc-André Souchay once asked for permission to set his own poems to the Songs Without Words. Mendelssohn refused and explained: “What the music I love expresses to me is not too indefinite to put into words, but on the contrary, too definite.”  Book II, opus 30 (1833-34)7. Andante espressivo8. Allegro di molto9. Adagio non troppo10. Agitato e con fuoco11. Andante gracioso12. Venetianisches Gondollied  

Fanny Mendelssohn was a gifted musician and composer who was eclipsed in life by her famous brother, Felix. However, she pioneered ‘Songs Without Words' and is a true NOTEable composer.

"Yasmin Williams reinvents the guitar with a dazzling array of two-handed techniques, hammering, bowing, and percussion effects – but all in the service of the music. Music that dances, and, in its own way, sings." (John Schaefer) Guitarist, composer, and songwriter Yasmin Williams is both a multi-instrumentalist and multi-tasker. She’s a fingerstyle lap-tapping guitar player who sits and rests the guitar in her lap, to make the guitar into a table on which she sometimes mounts a kalimba; her distinct style also leaves her tap shoe-wearing feet available for her to make beats. Williams also plays banjo, bass, kora, and as she puts it - “anything with strings.” Her keyboard-like percussive approach might have come about from playing (and eventually beating) the Guitar Hero 2 video game. She then got a “real” electric guitar, figured out how to master it her own way, and learned about other guitar heroes – Elizabeth Cotten, Sister Rosetta Tharpe, Eddie Van Halen, and Jimi Hendrix. Yasmin Williams’ wide variety of influences also includes hip-hop, classic blues, and a degree in music theory and composition from NYU. During the conversation, Williams explains that her use of extended techniques: tapping the guitar from above with both hands, playing the strings with a cello bow, hammering with what looks like a Patellar reflex test hammer in a dulcimer-like fashion, a pick that she sometimes wears on her thumb, the hammer-ons and pull-offs, and beat-making on the guitar (and with her feet) – are all in the service of her songwriting. Her next full-length album, Urban Driftwood, both a beautifully melodic and, of course, percussive affair, is due out in the fall of 2020. Yasmin Williams shares her latest songs without words – featuring all her multi-tasking limbs - remotely, from her home in Virginia. - (Caryn Havlik) Set LIst: "Through the Woods" "Juvenescence" "Restless Heart" Unwind by Yasmin Williams

The chalumeau was a single-reed ancestor of the clarinet, whose brief popularity left a lasting impression. We’ll explore music for the chalumeau--plus, torchsongs on historical instruments, on our featured release Songs Without Words on this week’s edition of Harmonia.

In this episode we hear 5 songs composed for flute and classical guitar using the compositional method Counterpoint, as well as chords formed by 2nds, 3rds, 4ths, 5ths, 6ths, 7ths, octaves and Pandiatonic clusters. The technique known as chord planing is also utilized.

This week... The Two Voices discuss chest freezers. Do people still have them? Do artisan bread sellers really make all the loaves fresh every day? There's a lovely cheesemonger in St Albans. Watching the radio. Plus... Andy looses it when Nick tells him about his new Songs Without Words radio show... when is the ideal time to listen?

This week... The Two Voices discuss chest freezers. Do people still have them? Do artisan bread sellers really make all the loaves fresh every day? There's a lovely cheesemonger in St Albans. Watching the radio. Plus... Andy looses it when Nick tells him about his new Songs Without Words radio show... when is the ideal time to listen?

This is a special musical Flute solo presentation by Gwen Kadrofske of Songs Without Words by Felix Mendelssohn.

Segon i darrer programa dedicat al projecte "Songs Without Words" el qual es basa en que grans compositors són convidats a tocar amb piano una de les seves peces preferides. En aquest programa sentim les propostes de Diane Warren, Jim Brickman, Jeremy Lubbock, Brian Wilson, Stephen Sondheim, Michael Whalen, Jeff Lorber i Carole King

'Frühlingslied' ('Spring Song')Felix Mendelssohn Daniel Adni, pianoAvailable on Arkivmusic.com Among all the great works written by Felix Mendelssohn are five dozen piano pieces with sort of a weird title: Songs Without Words. Now, is that some kind of game of fill in the blank? If they’re without words, why not put words to them? Well, it turns out that Mendelssohn answered that question. In a letter, Mendelssohn said that some people complain that music is unclear to them; they don’t understand its meaning, and words would make the meaning clearer. But Mendelssohn said this: “What the music I love expresses to me, is not too indefinite to put into words, but too definite.” (Pretty deep!) Something to think about, though – a meaning too definite to put into words. Now, the most famous of Mendelssohn’s Songs Without Words, does have, at least, a title: "Frühlingslied" ("Spring Song"). And you know this song, too. You’ve heard it a million times in cartoons and movies, but it’s almost always used to make fun of something. The tune has become a joke, a cliché, and I think that’s unfair. I think this "Spring Song" deserves a little reprieve. So here’s the whole thing. And as you listen, put aside whatever silly images come into your head, and just let the song be itself. And maybe the definite, wordless meaning will be as clear to you as it was to its composer. This performance is by pianist Daniel Adni. Episodes of My Classical Podcast are available for download through the WQXR App. Download it for IOS and Android Devices. How to use the WQXR App. This recording is provided courtesy of Warner Classics/Erato

El 1997 el segell discogràfic Windham Hill publica el disc "Songs without words" produit per en Michael Whalen sota la filosofia de convidar a excelents compositors i músics per a tocar una peça o cançó enfrontant-se al piano en solitari. En aquest programa gaudim d'aquestes interpretacions per part de'n David Foster, Desmond Child, David Benoit, Eric Bazilian, John Corey, Walter Afanasieff, Bob James i Michael Kamen

It’s said that Felix Mendelssohn’s sister, Fanny, served as the inspiration for his series of short, lyrical piano pieces called “Songs Without Words.” Fanny herself wrote a few similar pieces, one of which can be heard here. YouTube recommendation: http://www.youtube.com/watch?v=_ClJtFxmPhQ Additional links: http://lcweb2.loc.gov/diglib/ihas/loc.natlib.ihas.200156440/default.html And http://oboeclassics.com/~oboe3583/ambache/women.htm http://filesource.abacast.com/king/music/exploringmusic/3133699.mp3

Works for solo piano and string quartet performed by pianist Benjamin Moser and the Borromeo String Quartet.Mendelssohn: Four Songs Without WordsMendelssohn: String Quartet in A minor, Op. 13First up: excerpts from the composer’s famous Songs Without Words. The origin of this set of lieder for piano is still a bit mysterious. The New Grove dictionary postulates that it may have been a bit of an inside joke between Felix and his sister, who used to improvise words to their favorite piano pieces. Regardless, they are lovely little gems. Next at bat: String Quartet in A minor. Though it was the second quartet published, this work was actually the first Mendelssohn wrote in the genre. The 18-year-old composer—like many in his generation—was living in the shadow of Beethoven, and it shows. Like Beethoven, Mendelssohn develops a single theme—a quote from his own song “Ist es wahr?”—over the course of the entire piece.

Mendelssohn: Songs Without Words Mendelssohn: Octet for strings in E-flat Major, Op. 20First on this program is a selection of short piano pieces from Mendelssohn’s “Songs Without Words.” Mendelssohn wrote eight volumes of these songlike works between 1830 and 1845. Typical of Mendelssohn, every song is carefully structured and elegantly refined. Even without words, each short piece has a very definite character and temperament, ranging from triumphal to nostalgic. Mendelssohn composed his string octet in 1825, when he was only sixteen years old. This work is considered his first great masterpiece. Scored for a double quartet, Mendelssohn specified that the octet should be played with the dynamics, strength and style of a symphony. Mendelssohn considered the octet to be one of his favorite works.

This work is one of the pieces in Mendelssohn's Songs without Words (Lieder ohne Worte) and is considered one of his most beautiful works for piano. This piece is a duet between two voices of the piano, and should be played in a way that makes the voices truly sing. The voices alternate throughout the beginning of the work, combine for a masterful climax, and then come together again at the end for a most beautiful coda. The last several measures are particularly beautiful when played as written. The final A-flat and C in the second to last measure should be played with enough emphasis (with the left hand) that the two notes stand out - as they are the two voices combined for their final harmony. This chord should be held down and switched (without releasing the sound) to the right hand so that the left hand and two fingers of the right hand can play the final two chords. These should not be held for too long as the concluding sound of the piece should be the resonating harmony of the duet's voices (the A-flat and C). Careful inspection of the last three measures will make this quite obvious. This is truly a beautiful work. I have dedicated this recording to my sister, Jenifer, who first introduced me to this piece several years ago. You can read the dedication on my piano blog. This recording was made at my home on my studio upright piano. This piano is much too bright for this work, so the recording is not ideal; but I hope you enjoy it nonetheless.