#Concert de clarinet

[harkovsangel]

꒰ঌ ㅤ♡ྀི ₊ Corrupted angel ‪‪. . . ❤︎‬ ໒꒱

꒰ঌ prologue , chapter 1 , psychotic!Rafe x nice­!reader ໒꒱ 18+

♡ྀི ₊ Summary: polar opposites is the best way to describe you and Rafe. You’d be surprised if Rafe even knew you exist- he was the king of your university. All the girls all over him. And for a long time he didn’t know you existed, nor would he care, but that quickly changed when he finally laid eyes on you.

♡ྀི ₊ Content warning: 18+!, mdni, unsettling porn descriptions, extreme breath play(with plastic bag), no actual smut but descriptions of the above at the end.

♡ྀི ₊ a/n: I’m so excited that i finally chose to get this idea out of my head and into writing… i hope you guys like this series because i’ve been fantasizing for it for a good couple months now. Butt the prologue is kind of.. idk how to describe it, chocky? 😭 Just meant to give you an idea of the series! 💞

The sounds of instruments were the only thing you heard, the sounds harmonizing together to make the familiar sound of ‘clair de lune’.

Orchestra. Your escape from the stress of university work. Being able to just play an instrument and enjoy the sounds of harmonization between multiple instruments being a good relaxation for you. Helping to prevent you from getting burnt out.

Or, it usually did. Now you had the nerves of the upcoming concert to deal with. It was your first ever concert with this group of people.

Your eyes scanned your page of music. You didn’t have much notes for clair de lune. Occasionally playing the melody and thats about it.

Your focus was primarily on your solo piece, ‘swan theme’ from swan lake. Of course, it had to consist primarily of high notes, which you struggled to play the most on clarinet.

The upcoming concert was part of the summer fair that was showcasing multiple student performances, along with yoga, food trucks, carnival games etc. A supposed-to-be joyous event for students.

The sound of the door to the orchestra room opening tore your attention from your page of music.

“Ah! Hello Rafe, what do you need?” Your conductor and professor, Mr. Charles, said, leaning forward in his chair to see the door that was partly blocked due to a poorly decided placement of a bookcase, full of musical songs, history and so on.

Rafe Cameron. The multi talented frat dude. You’ve heard mixed things about him, some being good, some being more… concerning. But you’re always one to give everyone a chance, well aware of the gossip that can spread out of jealousy and dislike, even if you luckily have not had to experience it first hand.

Rafes head peered in, eye’s scanning the room before his eyes made way to Mr. Charles. “Hey uh.. Anisa’s looking for a uh…” Rafe trailed off, making a motion with his hand as if that’ll make him remember what ‘Anisa’ was looking for. “That a uh.. wax..? that people use on the violin?”

“Rosin?” Mr. Charles grinned at Rafes attempt to describe it. “There’s one right here.” He said chuckling, grabbing one next to him on his desk and reaching towards Rafe to give it to him.

Rafe grinned, a laugh escaping his lips as he took the Rosin from your professor. “Yeah.. sorry,”

‘Cute..’ You thought, admiring the slightly adorable laugh that left him and the smile that formed on his face. A small smile of your own forming on your lips.

And in that exact moment, Rafes eyes went straight to you. Eyes darting to the smile on your face as you looked at him, eye’s instinctively narrowing as if he just discovered something in his head.

Rafe then muttured a half-hearted “Thanks.” Towards Mr. Charles while still staring at you, a smile making its way to his face, directed towards you before he left the room.

The moment was simple, if anything just a friendly moment between two people. But your little, hopeless romantic brain started spinning, warmth making its way to your cheeks.

So it was, your mind was now occupied for probably… what? A week? All around thoughts of a guy who just smiled at you.

As your mind started to immediately make up scenarios, you smiled to yourself, barely being able to contain it as you looked down and tried to focus back on your notes.

You huffed as you finally got back home. Your half done up sweater half way down one of your shoulders as you lazily kicked your shoes off and plopped your bag onto your desk chair.

Where was your mind at? Rafe of course. How could it not be? You were dying all day to get out of the torture of classes to just lay on your bed and confess all your made up scenarios to your best friend, Lisa.

-

♡ྀི You: Lissaaa !! Omg i’m going crazy !!!

♡ྀི Lisa: what’s it this time?

♡ྀི You: So you know Rafe Cameron right? He’s like superr popular?

-

You sent the message, smiling pathetically at the thought of Rafe, but your smile fell when Lisa took a few seconds to respond. ‘Lisa is typing’ coming on and off the screen.

-

♡ྀི Lisa: god angel no! not RAFE CAMERON of all people

♡ྀི Lisa: please, listen to me on this, i already know that you’ve probably already been thinking about him all day over some little communication but he’s a complete dirt bag

♡ྀི Lisa: trust me on this please

-

You cocked your head to the side slightly, eyebrows narrowing as you considered Lisa’s words. Unlike you, Lisa believed in gossip and that’s what formed her opinions. You just sighed, internally rolling your eyes as you went back to typing.

-

♡ྀི You: Got it. No Rafe.

♡ྀི You: But a girl can still fantasize right?

♡ྀི Lisa: lol yes i suppose

-

It was 12am at night. Complete silence in Tannyhill. Everyone else sleeping, resting and preparing for the next day ahead. Everyone except Rafe.

His breath was heavy, one hand picking at the skin of his lips while the other typed away at his laptops keyboard. Sweat coated his forehead and eye’s showed evidence of his coked out state.

And in his mind ran rapid of thoughts about you. How did he not notice you beforehand? How was he unaware of the ‘angel’ of his lame excuse of a university?

The words his friends used to describe you. Cute, of course. And ‘bunny-like’, ‘polite’ and so on.

Rafe had common, random obsessions with girls. But those were more so quick fucks that he was taking advantage of for the time.

But you? no, he felt something different. Sure, he only met you, but he could feel it. And the way you looked at him? It was so… peace inducing. It was a way girls never looked at him before.

Rafe let out a shaky breath as he clicked ‘enter’. His laptop loading up his commonly visited, most likely would be illegal, porn website.

You were so pure.. fragile. A being too good for this world. A being that without his help, will be wrongfully treated, need to face the truth of the world eventually the hard way. He needed to have you. Needed to corrupt you to the truth of the world before it’s too late.

His eye’s scanned the already perfectly loaded videos of hard bdsm or taboo porn.

His breath hitched when he scrolled and saw the thumbnail of a video. A girl, one picture of her crying and practically passed out, and a second with a plastic bag roughly wrapped around her face. His mind instantly thought of you, and he felt two things stir in him.

One of them being an odd sense of anger, as he imagined a guy forcing you into that situation. But another sense of lust, at being the one to teach you how to take such treatment like the good angel he knows you are.

Rafe wasted no time, clicking on the video and moving one hand down to unzip his shorts, eye’s trained on the video while his free hand grabbed his card and straightened up another line of coke.

Fuck, you were totally going to be his.

⟡ ݁₊ . written by harkovsangel, 2025 on tumblr! © do not repost on any third party website or repost as yours. Doing so will result in me blocking you and reporting.

ㅤ♡ྀི Tagging muts: @slvbun @rafeysvenicebitch @nemesyaaa @hvnlygrl @bambrinaa @rafesbowbunny

tag list: @insufferablelust

[ethereal-nightingale]

batfam as band kids. walk with me here...

dick is a trombonist- he was pretty bad at when he first started out because his arms were too short to fully extend the slide lmfao,,,,,, it was never really one of his passions but he got quite good and still enjoys playing now and then

jason played trumpet. enough said (but seriously there's no other option- although i think he had a tendency to rage quit his practice sessions, and probably dropped out of band after grade 10. HOWEVER I could totally see him playing guitar as well and maybe joining jazz?)

tim is probably a flautist and made his brothers scare off anyone who bullied him for it,,,,,, maybe he would also learn to beatbox with it or smth cool like that. i think he's actually REALLY good and has even made it to top chairs district/state honor bands before. (not exactly sure how competitive njmea is though someone help me out pls)

damian is......okay damian might be the outlier and end up taking orchestra. it's okay though they forgive him for it. although i think it would be really funny if he tried clarinet, literally couldn't make a single sound, and immediately demanded that Bruce switch him over after one (1) day of trying

cass is a double threat i think she plays keyboard in jazz band (to an insane level) but she also plays flute. however she has a grudge against concert band (particularly marches) and (to the annoyance of her band director) prefers to improvise her parts

duke plays sax- mainly alto, but his favorite is bari. he wishes there were more cooler bari parts in traditional concert band rep (he's tired of upbeats, okay?!). surprisingly he's not in jazz with cass at school (couldn't fit it into his schedule), but he does play in a jazz-contemporary band outside of school.

steph is a casual euphonium player- she did her first year of band to fulfill the requirement for one year of a music elective, and only stayed in it because she knew a lot of people in the class. she also likes bass clarinet, but is NOT a fan of treble clef, so she's slowly learning it on the side.

(bonus: bruce was raised to play classical piano, but quit after his parents died. his kids are slowly helping him find his love for music again, and recently alfred heard him take 'clair de lune' (you KNOW he still knows it by heart) back out again.)

notice I didn't put anyone on clarinet...i think i have very high standards for clarinet player vibes, and none of them really stood out to me.

anyway they all have family jam sessions semi-regularly and maybe sometimes publish original music under pseudonyms

[jaibaisetamere]

music terms | français - english

verbes

assourdir - to deafen/muffle

chanter - to sing

composer - to compose

entendre - to hear

gratter - to strum

jouer - to play

tambouriner - to drum

écouter - to listen

noms (masc/fem)

un accord - chord

un bec - mouthpiece

les bois - woodwinds

un bourdonnement - drone

un cor - horn/french horn (haha)

un gazou - kazoo

un groupe - band

un hautbois - oboe

un instrument de cuivres - brass instrument

un instrument de musique - musical instrument

un instrument à cordes - string instrument

un mode - mode

un orchestre d'harmonie - concert band

un orchestre de jazz

un pavillon - bell (for brass instruments)

un piano - piano

un rythme - rhythm

un saxophone - saxophone

un synthétiseur - synthesiser

un tambour - drum

un tambourin - tambourine

un tempo - tempo

un ton/tonalité - key

un violon - violin

un violoncelle

une baguette - drumstick

une basse - bass guitar

une batterie - drum kit

une boîte à rythmes - drum machine

une caisse claire - snare drum

une chanson - song

une charleston - hi-hat

une clarinette - clarinet

une contrebasse - double bass

une corde - string

une flûte - flute

une frette - fret

une gamme - scale

une grosse caisse - bass drum

une guitare - guitar

une mesure - time signature

une note - note

une pédale - pedal

les percussions - percussion

une symphonie - symphony

une touche - fretboard, piano key

une triade - triad

une trompette - trumpet

adjectives

alto - alto

basse - bass

majeur - major

mineur - minor

ténor - tenor

cette liste est plus longue que l'autre, j'espère que c'est mieux comme ça :3

[garadinervi]

Passengers: Beth Gibbons, ARTE Concert, Bibliothèque nationale de France, Paris, July 8, 2024 [Radio France]

Beth Gibbons

James Ellis Ford: drums, harmonium, tenor recorder, backing vocals, musical director Eoin Rooney: guitar, marching snare, backing vocals Howard Jacobs: contrabass clarinet, vibraphone, timpani, baritone sax, flute, bombo, percussions, metal and gongs, recorder, hammered guitar, backing vocals Emma Smith: violin, clarinet, guitar, backing vocals Jason Hazeley-Smith: keyboard, ondes Tom Herbert: bass guitar, Fender VI, backing vocals Richard Jones: viola, guitar, backing vocals

[cbuttonduo]

BRYNN!!! spins you around. uhmmm uhhhhhh if you have answered this before saurry but !!! what is each tessitura character's (of the ones that play) favourite piece/song to play??

AUH!!!! oooo oky this is a fun question. i’ve always kind of had a n idea of like what styles they enjoy but mot necessarily what pieces they specifically like heheheh

went mostly concert band because. i felt like it.

TOMMY

okay. tommy is pretty typical in his love for marches. i mean there’s not much more to say there. marches are loud and fun and BRASSY!!!! he also just likes pretty silly comedy pieces! i mean. it’s tommyinnit.

out of all the pieces i chose for tommy though choose joy is my favorite. it is a pretty simple high school piece but it personally means a lot to me. it’s mostly upbeat and optimistic, but it also has some more sentimental and melodic moments that really make it a tommy piece to me lol

WILBUR

twilbur’s pieces are meant to be haunting and grand. yk the type that when they finally end you’re left thinking. wow. did that actually just happen. which i don’t think what i chose are exactly what i was looking for? but they count

also i didn’t give examples but wilbur does like to play really fast and challenging stuff too

main takeaway: tessitura wilbur will show off in any style he can

NIKI

LISTEN i know clair de lune is really basic. BUT it’s also BEAUTIFUL and I LOVE HER.

also yeah. i feel the most strongly about these pieces for niki out of anyone else so!

RANBOO

oh ranbus… i chose this piece because. very clearly the bass clarinet (ranboo’s instrument) stands out the most. tessitura ranboo is a person who does not stand out that much! it’s not that he’s very shy or anyhitng he’s just kinda? anxious and a little awkward? so i think having a chance to play a piece where he can really shine and prove his skills would be pretty cool. or whatever <- girl who is normal

plus i do think this piece just fits him stylistically!

[jazzandothersounds-blog]

Bootleg of John Coltrane 4tet + Eric Dolphy in Copenhagen 1961

(English / Español)

Without a doubt, saxophonist John Coltrane's band after he left trumpeter Miles Davis in 1960 is one of the defining groups of jazz, and for the year or so during which multi- instrumentalist Eric Dolphy joined Coltrane on reeds, the band became a phrenic and frenetic powerhouse that shook jazz to its core. Between Dolphy's piercingly distinct sound and Coltrane's newly developed interest in Eastern modalities, as well as the driving force of one of the all-time great rhythm sections—pianist McCoy Tyner, drummer Elvin Jones, and bassists Jimmy Garrison or Reggie Workman—this was a band to reckon with.

Recorded on November 20, 1961, mere weeks after the legendary Village Vanguard sessions that got critics' dander up, this album finds the quintet at the Falkonercenter in Copenhagen, playing the first part of a sold-out two act bill (the second act was trumpeter Dizzy Gillespie's band: what a concert!). Here, Workman is still holding down the bass chair, though Jimmy Garrison had likely won himself the spot for future iterations of the Coltrane band with his performance on "Chasin' The Trane" back in New York. Previously made available on vinyl, but only just released in a complete CD form with announcements by presenter Norman Granz, this is a must-have for Coltrane or Dolphy completists.

The album boasts two curiosities that distinguish it from all the other Coltrane recordings available in the marketplace. The first, a pair of rare false starts on "My Favorite Things," prompting an apology from the ever mild-mannered Coltrane to the audience, will likely only interest the true die-hard fan. But a version of Victor Young's beautiful "Delilah," purported to be the only version of the song that Coltrane or Dolphy ever recorded, is a deluxe addition to any fan's collection.

Without a doubt, this would have been an astonishing performance to witness. While Coltrane, Dolphy and McCoy are fantastic as always, part of the pleasure of hearing this band is in the seemingly telepathic give and take between all players. Hearing Coltrane's fire with only hints of the sparks that Elvin Jones is lighting behind him isn't the complete experience. That being said, it's still a lot better than most of what's out there.

Tracks: Announcement by Norman Granz; Delilah; Every Time We Say Goodbye; Impressions; Naima; My Favorite Things (false starts); Announcement by John Coltrane; My Favorite Things.

Personnel: John Coltrane: tenor and soprano saxophones; Eric Dolphy: alto saxophone, flute, bass clarinet; McCoy Tyner: piano; Reggie Workman: bass; Elvin Jones: drums.

Extract text from: allaboutjazz.com / By Warren Allen

-----------------------------------------------------------------------------

Sin lugar a dudas, la banda del saxofonista John Coltrane tras su marcha del trompetista Miles Davis en 1960 es uno de los grupos que definen el jazz, y durante el año en que el multiinstrumentista Eric Dolphy se unió a Coltrane en las cañas, la banda se convirtió en una potencia frenética que sacudió el jazz hasta sus cimientos. Entre el sonido penetrantemente distintivo de Dolphy y el nuevo interés de Coltrane por las modalidades orientales, así como la fuerza motriz de una de las mejores secciones rítmicas de todos los tiempos -el pianista McCoy Tyner, el batería Elvin Jones y los bajistas Jimmy Garrison o Reggie Workman-, ésta era una banda a tener en cuenta.

Grabado el 20 de noviembre de 1961, pocas semanas después de las legendarias sesiones del Village Vanguard que levantaron la polvareda de la crítica, este álbum presenta al quinteto en el Falkonercenter de Copenhague, tocando la primera parte de un programa de dos actos con las entradas agotadas (el segundo acto fue la banda del trompetista Dizzy Gillespie: ¡menudo concierto!). Aquí, Workman sigue ocupando la silla del bajo, aunque Jimmy Garrison probablemente se había ganado el puesto para futuras iteraciones de la banda de Coltrane con su actuación en "Chasin' The Trane" en Nueva York. Anteriormente disponible en vinilo, pero recién editado en CD completo con anuncios del presentador Norman Granz, es un disco imprescindible para los completistas de Coltrane o Dolphy.

El álbum cuenta con dos curiosidades que lo distinguen de todas las demás grabaciones de Coltrane disponibles en el mercado. La primera, un par de raras salidas en falso en "My Favorite Things", que provocaron una disculpa del siempre apacible Coltrane al público, probablemente sólo interesará a los verdaderos fans acérrimos. Pero una versión de la hermosa "Delilah" de Victor Young, que se supone que es la única versión de la canción que Coltrane o Dolphy grabaron jamás, es una adición de lujo a la colección de cualquier fan.

Sin duda, habría sido una actuación asombrosa. Aunque Coltrane, Dolphy y McCoy están fantásticos como siempre, parte del placer de escuchar a esta banda está en el toma y daca aparentemente telepático entre todos los músicos. Escuchar el fuego de Coltrane con sólo indicios de las chispas que Elvin Jones enciende tras él no es la experiencia completa. Dicho esto, sigue siendo mucho mejor que la mayoría de lo que hay en el mercado.

[johnkatsmc5]

ZAO "Z=7L" 1973 + "Osiris"1974 + "Shekina" 1975 "Kawana" 1976 + "Typhareth" 1977 +  “Akhenaton" 1994 + "Live!" 2003 + "In Tokyo" 2007 France Prog Jazz Rock Fusion,Zeuhl supergroup  ( Magma, Univeria Zekt, Gong Expresso,Alice,Fred Manoukian Big Band,Rahmann, Ergo Sum, Henri Guedon Congress, Indochine, Jaki Byard Trio, Perception, Surya, Clearlight,Terpandre...etc....members)

full spotify

https://open.spotify.com/album/4CSDwSRIDiIeMeiNkkhAw6

https://open.spotify.com/album/1YZgOSl49dg21IyChVPW5I

https://open.spotify.com/album/2pNldik908jTE6cJcavjDc

https://open.spotify.com/album/3sRU6ll0eJSgOXDtT36LKr

https://open.spotify.com/album/3Pc9mdq1EkTXP0MQh6Chdt

https://open.spotify.com/album/0Ogmy0eBt4eMZAcQT63zej

https://open.spotify.com/album/6NQP7aG1cjtviJlUg2JPIh

ZAO was founded at the beginning of the seventies by Yochk'o "Jeff" Seffer (saxophone, clarinet) and François "Faton" Cahen (pianos), both ex-members of MAGMA's first era, that includes "Kobaïa" (1970), "1001 ° centigrades" (1971) and "Uniweria Zekt-the Unnamables" (1972).If one regard MAGMA as the central trunk of the Zeuhl tree, ZAO would be equivalent to an early side branch very close to the stock. ZAO's music, at least at the beginning of their career, is therefore an extension of MAGMA's first era, with a light music, at times weird, with hints of jazz, contemporaneous music, Hungarian folk (Yochk'o is a native of Hungary) and obviously of Zeuhl. Nothing in common with the absolute incantatory power of "MDK" and "Kohntarkhosz" to which Yochk'o Seffer and François Cahen didn't want to contribute.In the first album, "Z = 7L" (1973), the very complex melodic instrumental layers are enriched with the wonderful voice of Mauricia Platon (with its kobaïan accents), but unfortunately she was missing on the follow-up "Osiris" released in 1975.ZAO will break from its Zeuhl roots and the music will lean towards some jazz-rock fusion more and more debatable and debated."Shekina" (1975) augmented by the presence of a string quartet and "Kawana" (1976) remain respectable albums of the French jazz-rock fusion scene but "Typhareth" (1976) recorded just after Yochk'o Seffer left the band is of little interest. ZAO will then split but the members will gather anew in 1994 with the release of "Akhenaton" (once more jazz-fusion inflected), the album that saw the band reform but without any follow-up. It seems that the band planned to reform this year (2004) with the return of Yochk'o Seffer. To be continued ? Moreover, we can note that ZAO's bassist, Joël Dugrenot, will join for a short while the French symphonic progressive band CLEARLIGHT.Among the solo albums, let's consider Yochk'o Seffer's "Ghilgoul" (1979), strange atmospheres, dissonant music and the presence of Zeuhl in some tracks.::: Tauhd Zaïa ........~

A group made up of two former Magma, François Cahen (Jul 24, 1944 – Coulommiers / July 13, 2011 – Paris) and Yochk'o Seffer (Jul 10, 1939 – Miskolc, Hungary), three rock veterans and a vocalist Mauricia Platon. Vocalist and not singer, since Zao is characterized, among other things, by the absence of words. But no symbols since ZAO is a word of Kabbalah whose each letter corresponds to a number: Z=7, A=1, O= infinite. And the product of its three letters gives the number 7 or infinite. An explanation given by François Cahen on the back of the cover of their third album "Shekina". Between progressive and jazz-rock, the group has found an original place allowing itself some beautiful improvised flights. When in November 1972, François Cahen left Magma, it was to join Jeff Seffer (who left in August) and set up a new group. For the little anecdote, it was Boris Bergman, future lyricist of Alain Bashung and neighbor of François Cahen, who came up with the name of the group, a sibylline name that comes straight from the Kabbalah. In 1973, the first concerts were given, including a Fête de l'Humanité in September. After the release of the first album, tours resumed, but a road accident interrupted the 1974 "singing" tour with the injuries of François Cahen and Jean-Yves Rigaud. In September, everyone – except Mauricia Platon – met to record "Osiris" at the Davout studios in Paris, which was released on Richard Pinhas' Disjuncta label. At the end of the year, it's back on the road, but in Japan where they accompany Sylvie Vartan! In 1975, the group without Jean-Yves Rigaud and with Gérard Prévost on bass welcomed a string quartet and recorded its third album in this configuration. In 1976, Didier Lockwood joined Zao after the split of Magma and recorded the album "Kawana" with the group. The same year, Yochk'o Seffer left Zao with the string quartet. A year later, it was the turn of Didier Lockwood and Jean-My Troung to leave. Manu Katché is now on the drums. With him "Tipareth" was recorded in 1977. A year later, François Cahen released a second solo album and left for the United States. The group is unofficially dead. Subsequently, Zao experienced some ups and downs such as a concert in 1986, the recording of a sixth album 18 years later in 1994 or a series of concerts in 2004 which gave rise to the group's only live album "In Tokyo" with a local string quartet. In 2007 Zao gave a few more concerts in Paris, notably for the release of Live. The death of François Cahen in 2011 put a definitive end to the adventure, which ended with a last tribute concert on January 17, 2012 at the New Morning......~

ZAO "Z=7L" 1973

Line-up / Musicians

- François Cahen / electric piano, piano - Yochk'o Seffer / saxophone, clarinet - Joël Dugreno / bass - Jean-Yves Rigaud / electric violin - Jean-My Truong / drums - Mauricia Platon / vocals Tracklist Marochsek 7:00 Ataturc 6:00 Ronach 5:00 Atart 3:30 La Soupe 7:00 Satanyia 7:30

ZAO "Osiris"1974

Line-up / Musicians

- Francois "Faton" Cahen / keyboards - Joel "DUD" Dugrenot / bass, vocals - Yochk'o Seffer / saxophones, vocals - Jean-My Truong / drums, percussion - Jean-Yves Rigaud / electric violin - Marc Chantereau / percussion - Pierre "TY BOUM" Guignon / percussion

Songs / Tracks Listing

1. Shardaz (4:48) 2. Isis (9:32) 3. Reinna (4:23) 4. Yog (8:05) 5. La Rhune (4:08)

ZAO "Shekina" 1975

Line-up / Musicians - Yochok'o Seffer / saxophones, clarinets, vocals - François "Faton" Cahen / keyboards - Gérard Prévost Electric / bass - Jean-My Truong / drums - Pierre "TV Boum" Guignon / percussion - Michèle Margand / violin - Marie-Françoise Viaud / violin - Françoise Douchet / viola - Claudine Lassere / cello Tracklist Joyl 3:52 Yen-Lang 8:07 Zohar 10:54 Metatron 8:15 Zita 4:34 Bakus 5:12

ZAO "Kawana" 1976

Line-up / Musicians - François Cahen / Yamaha acoustic piano, Fender electric piano, Korg synthesizer - Didier Lockwood / acoustic & electric violin, artisanal bass violin - Gérard Prévost / Fender bass, hors phase bass, acoustic bass - Yochk'o Seffer / soprano & sopranino saxophones, vocals, piano (3) - Jean-My Truong / orange double drums Musicians on "Salut Robert!": - François Cahen / keyboards - Bill Gagnon / bass - Christian Saint Roch / drums - Yochk'o Seffer / saxophone - Michel Seguin / percussion Tracklist Natura 7:00 Tserouf 9:55 F.F.F. (Fleurs For Faton) 2:28 Kabal 4:10 Sadie 3:40 Free-Folk 9:58

ZAO "Typhareth" 1977

Line-up / Musicians - François'Faton'Cahen / piano, electric piano, synthesizers - Hamid Belhocine / trombone - François Debricon / saxophone, flutes - Manu Katché / drums - Michel Seguin / drums 'toubabou', percussion - Gérard Prévost / electric bass Tracklist Merci Jacky 7:10 Typhareth « Beauté » 12:30 Troupeau De Bisons Sous Un Crâne 8:20 Binah « Compréhension Féminine » 6:33 Les Temps Changent 3:27

ZAO "Akhenaton" 1994

Line-up / Musicians - Dominique Bertram / 5-string bass, Fender Jazz bass - Yochk'o Seffer / saxophone - Jean-My Truong / drums - Patrick Tilleman / percussion, violin, violin (electric) - Faton Cahen / piano Tracklist Elioth 7:33 Thebes 7:06 Baityare 8:09 Cobra 6:37 Yzzo 6:40 Sable 3:45 Ozz 6:04 Sakkarah 5:47 Des Fleurs Pour Nefertiti 7:31

ZAO "Live!" 2003

Line-up / Musicians - Francois Cahen / piano & synthesizers - Didier Lockwood / violin - Gerard Prevost / bass - Jean-My Truong / drums & percussion Tracklist Shardaz 9:41 Isis 8:07 Tserouf 6:36 Sadie 5:17 Zohar 9:46 Improcol 19:28 Jumelles 6:39 Kabal 4:57

ZAO " In Tokyo" 2007

Credits Drums – François Causse Electric Bass – Gérard Prévost Guest [Guest Star], Violin – Akihisa Tsuboy Piano, Electric Piano [Fender Rhodes] – Faton Cahen* Promotion, Tour Manager – Hiroshi Masuda Soprano Saxophone [Selmer], Tárogató [Gregus Pal] – Yochk'o Seffer Vocals – Cynthia Saint-Ville Tracklist 1 Free Folk 9:50 2 Atart 7:40 3 Chardaz 12:05 4 Natura 9:53 5 Sadie 3:14 6 Ronach 5:38 7 Isis 10:30 8 Zohar 14:06

Diskografie 1973: Z=7L (Vertigo Records) 1975: Osiris (Disjuncta/Urus Records) 1975: Shekina (RCA Records) 1976: Kawana (RCA) 1977: Typhareth (RCA) 1994: Akhenaton (Musea) 2003: Live! (Musea) 2007: In Tokyo (Musea)

ZAO "Z=7L" 1973 + "Osiris"1974 + "Shekina" 1975 "Kawana" 1976 + "Typhareth" 1977 +  “Akhenaton" 1994 + "Live!" 2003 + "In Tokyo" 2007 France Prog Jazz Rock Fusion,Zeuhl supergroup  ( Magma, Univeria Zekt, Gong Expresso,Alice,Fred Manoukian Big Band,Rahmann, Ergo Sum, Henri Guedon Congress, Indochine, Jaki Byard Trio, Perception, Surya, Clearlight,Terpandre...etc....members)

https://johnkatsmc5.blogspot.com/2025/03/zao-z7l-1973-osiris1974-shekina-1975.html?view=magazine

https://johnkatsmc5.tumblr.com/post/779181423839084544/zao-z-7l-1973-osiris1974-shekina-1975

[hayleylovesjessica]

I'm looking at the promotional material for next season with my local symphony orchestra, the North Carolina Symphony Orchestra in Raleigh, and if I buy an 8-ticket package, I think I'd use them for these seven concerts, with two tickets for my partner and me to hear Carmina Burana right around my birthday next year. There are some really interesting contemporary pieces being programmed, and some of the soloists, such as Paul Watkins, are major figures.

17-18 October 2025 Chávez: Sinfonia India Copland: Clarinet Concerto (w/Samuel Almaguer) Copland: Symphony No. 3

14-15 November 2025 Jennifer Higdon: Suite from Cold Mountain Schumann: Cello Concerto (w/Paul Watkins) Beethoven: Symphony No. 3, “Eroica”

9-10 January 2026 Orff: Carmina Burana

6-7 February 2026 Bernstein: Music from On the Town John Adams: Saxophone Concerto (w/Timothy McAllister) Gershwin: Porgy and Bess: A Symphonic Picture Johnson: Victory Stride

20-21 March 2026 Beethoven: Piano Concerto No. 5, “Emperor” (w/Anne-Marie McDermott) Bartók: Concerto for Orchestra

10-11 April 2026 Rautavaara: Symphony No. 7, “Angel of Light” Mozart: “Great” Mass in C Minor

8-9 May 2026 Gabriela Ortiz: Kauyumari Copland: Appalachian Spring Revueltas: La noche de los Mayas

[twentyfivemiceinatrenchcoat]

ANON WHO WAS TALKING ABT WHAT MUSIC SUGURU LISTENS 2 ,,,,,, i pose 2 thee ,,,,,,,, r&b n rap ,,,,,,,,,,,

2 me hes a big kendrick lamar, de la soul, 2pac, aaliyah, alicia keys, erykah badu fan ,,,, just cuz thats who he is 2 me !!! he reminds me of those deep greens, warm browns, n the taste of earth on ur tongue ,,,

but he can appreciate The Classics DEF !!!!!!! he has a big appreciation 4 ALL music me thinks ,,, [and its a personal little hc of mine that he can play bass guitar, drum kit, AND cello ,,, as an orchestra kid ,,,, my opinions r CORRECT] [also hed probably play some rlly low instrument like ,,, tuba or bass clarinet] [satoru would play the trumpet . hed empty his spit valve on sugurus head .] [hed also play violin and be ANNOYINGGG abt it . all violins r annoying asf . [i play violin]]

honestly i think hes just attracted 2 slower, warmer music ,,, like stuff ud listen 2 in the kitchen at 11 pm and the lights a nice warm color and the leftover smell of takeout lingers in the air while you and your lover sit right next 2 each other

OH and satoru would like tyler the creator he was at camp flog gnaw i was there i saw him TRUST [ignore. ignore the racist allegations i free him from those shackles by the power vested in me as a melanated individual] i feel like hed rlly like outkast but only their SUPERR popular stuff, like so fresh, so clean or ms. jackson

also sugurus def a numetal fan . and goth ,,,,,, SUGURU IN TRAD GOTH MAKEUPPP OH MY GOHDDDDDDDDDD and w the piercings ,,,,,,,

going back on him having appreciation 4 all music i mean ALLLLL music . if u go thru his playlists half of them r in languages he doesnt even know but he LOVES them ,,,,, im thinking some songs in yoruba, sanskrit, somali, telugu, spanish, māori, hawaiian ,,,,,,,,,,,

OKI FINAL THING . big Big BIGGGG punk music fan ,,, his whole thing is abt doing whats right for the world and the people around him, and thru that he gets in2 the punk scene !!! yay !!! :3 prob likes bikini kill, xray spex, or the muslims ,,,,

AHHHHHH YOUR BRAIN …….. i’m surrounded by geniuses left and right 😵‍💫😵‍💫😵‍💫 THIS IS CANON TO ME NOW BTW!!!!

you’re SO right i really think sugu is such a music guy……. loves EVERY kind of music for sure i hadn’t considered rap & rnb until now BUT THAT MAKES SOOOO MUCH SENSE …… “deep greens, warm browns, n the taste of earth on ur tongue” <- THIS IS SO SUGUCODED I CRIED…….

and !!! the classics too !!!! I AGREE SO HARD ON THE INSTRUMENTS i’ve always seen him playing either the bass or the drums but CELLO?????? is so unbelievably bigbrained. plays it for sure. and our pretentious little satoru….. for SURE a violin player and i think piano too. AND TRUMPET PLEASEEE WHY DOES THAT MAKE SM SENSE 😭😭….. he strikes me as the kinda guy who used to listen to nightcore religiously and i think sugu would find that personally offensive to the industry

honestly i think hes just attracted 2 slower, warmer music ,,, like stuff ud listen 2 in the kitchen at 11 pm and the lights a nice warm color and the leftover smell of takeout lingers in the air while you and your lover sit right next 2 each other

YEPPPP YEP ….. you can’t see me but i’m agreeing so hard my hands r shaking THIS IS HIM!!!! slow n warm music …… kitchen music …….. just . dreamy and tender …………. 😔😔😔 he’s so …..

ANDDD i agree on literally everything else too. i only know like half of these artists bc i’m embarrassingly unknowledgeable abt music but i trust your opinion w my life …. oh great orchestra master ………… (that’s so cool btw imho anyone who plays any kind of instrument is the Coolest person in the universe i’m so in awe) HE WOULD SOOO BE IN THE PUNK SCENE …… and he absolutely listens to all kinds of music no matter the language . i can see him picking up bits n pieces from the languages too bc that is our multilingual king 🤞 no matter where he is or who he’s talking to he fits in perfectly w any kind of music-loving crowd…. everyone loves him sb he goes to concerts and makes so many friends without even trying. that’s our guy.

tysm for sharing this w me i’ve decided that you’re objectively correct <333 akutami once said that suguru was “a liberal arts guy for sure” and i think abt it every single day . our artistic king . i love him.

[2022-mmac]

Sundays at 2pm at MMAC Center

Three Sunday concerts of original music composed and performed by local musicians

Events made possible by funding from the New Mexico Music Commission https://www.newmexicomusic.org/

November 5: James Yeager

James Albert Yeager moved to New Mexico in 2009. He has performed regularly as conductor, organist, harpsichordist, and choral accompanist. He retired as Professor of Sacred Music at the Josephinum College in Columbus, Ohio (1984-2009). James has done numerous compositions and arrangements, including music for two short films. His orchestral works have been performed in Albuquerque and Santa Fe. At present, his primary musical interest remains as a composer

Program: The program will center on James’ three recent compositions: Passacaglia for Organ & Orchestra (2022), Fugue for Piano and Chamber Orchestra ”Mystical Desert”(2023), and Sonata for Piano Quintet (2023). Since the Passacaglia and the Fugue require large ensembles, they will be performed using recordings from Ravel Virtual Studios (NYC) . The Sonata will be played by New Mexico musicians - Flutist Ms. Hyorim Kim, a string quartet of Eric Sewell, Grant Hanner and Lisa Donald, and pianist Natalia Tikhovidova. - as a premiere performance. James will also play short pieces from his film scores. The program will last one hour and is free to the public.

November 12: Michael Hays

Mike Hays is a retired English teacher who has been playing music, especially on bass, since he was a young teen. In the last ten years, he has taken his interest in songwriting more seriously and has been creating jazz-based both vocal and instrumental compositions for the group he is working with. The current group (to whom Mike is deeply grateful) is more classically based, and the audience of the November Concert Series will notice his current compositions reflect this.

Program: Basement Dancing is a group that performs music written by Michael Hays. The group comprises Luis Delgado on clarinet and flute, Juli Palidino on viola and violin, Katie Harlow on cello, mandolin and accordion, Joseph Sabella on drums, and Michael Hays on bass and vocals. . Vocal songs at this concert will include musical portraits of the lonely soul waiting for his lost love in the Plaza de los Arboles Muertos, of the longing that hapless Se��or Sapo feels as he watches a lovely circus acrobat, and of the nocturnal activities of Groany Bones, a skeleton who leads a danse macabre.

November 17: Kathleen Ryan + Exhibit Opening of "Masks & Metal"

Composer/pianist Kathleen Ryan is a Whisperings Solo Piano artist. She was the Professional Music Teachers of New Mexico commissioned composer in 2008, for which she composed a set of 24 piano left-hand-alone preludes titled Verbs. Several of her piano solo pieces were featured in the Emmy Award-winning Iowa Public TV special, The Seasons. Ryan lives near Mountainair with her husband and two quirky but inspiring cats.

Program: Composer/pianist Kathleen Ryan's piano solo performance will illustrate aspects of her composer’s life: being inspired, becoming ambitious, recovering from writer’s block, making money, and recycling teenage angst songs into piano solos. She will finish with some premieres, including music that’s not quite composed just yet! The full range of her 21st century impressionist style will be heard, from silly to soothing, from complex to simply serene.

[n4682]

loved your raut recs especially the violin concerto tysm :)))

general romantic / impressionist / modernist recs?

hey so sorry for responding late but i saw this and just kinda went a bit feral, so im sorry.

Alberto Ginastera

Piano Sonata No. 1 (Terence Judd [pfte.])

Piano Sonata No. 2 (Fernando Viani [pfte.])

Piano Concerto No. 1 (Sergio Tiempo [pfte.], Gustavo Dudamel [cond.] w/ Los Angeles Philharmonic)

Guitar Sonata (Aniello Desiderio [gtr.])

Harp Concerto (Nancy Allen [hrp.], Enrique Bátiz [cond.] w/ Orquesta Filarmónica de la Ciudad de México)

Alfred Schnittke

Concerto Grosso No. 1 (Gidon Kremer [vln.], Tatiana Grindenko [vln.], Heinrich Schiff [cond.] w/ Chamber Orchestra of Europe)

Concerto Grosso No. 2 (Oleg Kagan [vln.], Natalia Gutman [vcl.], Gennady Rozhdestvensky [cond.] w/ USSR Ministry of Culture Symphony Orchestra)

Cello Concerto No. 1 (Natalia Gutman [vcl.], Gennady Rozhdestvensky [cond.] w/ USSR Ministry of Culture Symphony Orchestra)

String Quartet No. 3 (Kronos Quartet)

Dmitri Shostakovich

Symphony No. 1 (there was a great recording but when i went to check the recording on yt it wasnt there and it sucks cause it was great)

Symphony No. 5 (Evgeny Mravinsky [cond.] w/ Leningrad Philharmonic Orchestra)

Symphony No. 7 (Yevgeny Svetlanov [cond.] w/ USSR State Symphony Orchestra)

Symphony No. 9 (Rudolf Barshai [cond.] w/ WDR Symphony Orchestra Cologne)

Symphony No. 15 (this one too dissapeared)

String Quartet No. 9 (Fitzwilliam Quartet)

Violin Concerto No. 1 (David Oistrakh [vln.], Dmitri Mitropoulos [cond.] w/New York Philharmonic)

Maurice Ravel

Violin Sonata No. 2 (Viktoria Mullova [vln.], Bruno Canino [pfte.])

Sonata for Violin and Cello (Jean-Jacques Kantorow [vln.], Philippe Muller [vcl.]

Introduction and Allegro, for Harp, Flute, Clarinet, and String Quartet (Skaila Kanga [hrp.], Academy of St. Martin in the fields)

Alborada del Gracioso (Fritz Reiner [cond.] w/Chicago Symphony Orchestra)

Piano Concerto for the Left Hand (Samson François [pfte.], André Cluytens [cond.] w/Orchestre de la Société des Concerts du Conservatoire)

Piano Concerto in G (Arturo Benedetti Michelangeli [pfte.], Ettore Gracis [cond.] w/Philharmonia Orchestra)

La Valse (solo piano version) (Seong Jin-Cho [pfte.])

Valses Nobles et Sentimentales (Louis Lortie [pfte.])

Franz Liszt

honestly too many to list here (hehe, liszt here) but heres just some of the ones (marked with Searle numbers)

S.126i, S.139, S.145, S.173, S.174i, S.177, S.178, S.206, S.216, S.217, S.242 (especially no. 20), S.244/12 + 15 + 19, S.252, S253, S.254, S.388, S.390i, S.392, S.393, S.394, S.400, S.409a, S.412iii, S.413, S.418, S.420 (hehe funny number), S.464 (yes i prefer the arrangements, fight me), S.513a, S.558/4 + 12, S.695c, S.697i (not the Busoni version), S.700

Other Composers

Bela Bartók - Piano Concerto No. 2 (György Cziffra [pfte.], Marco Rossi [cond.] w/Budapest Symphony Orchestra)

Olivier Messaien - Le Banquet Céléste (Gillian Weir [org.])

Samuel Barber - Piano Concerto (John Browning [pfte.], George Szell [cond.] w/Cleveland Orchestra]

Kaikhosru Sorabji - Sequentia Cyclica on Dies Irae (Johnathan Powell [pfte.])

Ferrucio Busoni - Piano Concerto (Marc-André Hamelin [pfte.], YL Male Voice Choir [chor.], Osmo Vänskä [cond.] w/Lahti Symphony Orchestra)

Sergei Rachmaninoff - Sonata No. 2 (Nikolai Lugansky [pfte.])

Marc-André Hamelin - 12 Études in All the Minor Keys (Marc-André Hamelin [pfte.])

Eugène Ysaÿe - Sonata No. 5 for Solo Violin (Hilary Hahn [vln.])

Oren Boneh - Sprout (Lung-Yi Huang [gzhn.] w/ C-Camerata Taipei)

Karol Szymanowski - Violin Concerto No. 1 (Lydia Mordkovitch [vln.], Vassily Sinaisky [cond.] w/ BBC Philharmonic Orchestra)

aaaand i think im going to end the list there because this took WAY too long

[sinceileftyoublog]

Allison Russell & Kara Jackson Live Show Review: 5/8, Vic Theatre, Chicago

From left to right: Caoimhe Hopkinson, Ganessa James, Allison Russell, & Caoi de Barra

BY JORDAN MAINZER

If Allison Russell's solo albums have exemplified her struggle to conquer trauma and find joy, her live show is a victory lap. As it turns out, since she last came to Chicago, she has a lot to celebrate: not just the continued acclaim for her sophomore album The Returner (Fantasy), but being cast as Persephone in Anais Mitchell's Tony-winning musical Hadestown. Russell was originally slated to perform at the Vic Theatre last fall and had to postpone the concert due to her Broadway run. A couple weeks ago, she made it up and played the venue for the first time as a solo artist. With an arsenal of terrific songs and a stellar band, the Rainbow Coalition, behind her (multi-instrumentalists Ganessa James and Caoimhe Hopkinson and drummer Caoi de Barra), Russell was able to transform vulnerable material into tunes of hope and uplift. She also put on a true show.

Hopkinson, Russell, & James

Having listened to Russell's records but never witnessing her live, I wasn't sure going into the Thursday before last what kind of performance she would give. From the get-go, it was clear she was going to feed off the crowd's energy to showcase her musical versatility and surface the themes of the songs. Russell's clarinet and the Rainbow Coalition's vocal harmonies foreshadowed the night's drama on set opener "Hy-Brasil". Her vocals alternated between silky and guttural on statement of overcoming "Springtime", as if to mirror the push-pull of her journey. The crowd recognized the extent to which Russell's songs climbed another level, live; audience members stomped and clapped more on the jazzy "Poison Arrow" than on blues dirge "Eve Was Black". On the former, Russell's voice, even when maintaining a significant distance from the microphone, was pristine.

Hopkinson & Russell

Before playing Outside Child's "Persephone", Russell called her first solo record "solo in name only." You could say the same thing about her set. The whole band performed that song at the front of the stage in parallel, Russell no more the lead than anyone else, the harmonies just as essential as the verses. "The Returner" and "You're Not Alone", the latter of which saw de Barra filling in for the studio version's Brandi Carlile with stunning harmonies and call and response, were straight up funky. The night was also a family affair--not only did Russell's husband and Birds of Chicago co-founder JT Nero join for BoC's "American Flowers", but Russell invited her nieces on stage to help sing Outside Child standout "Nightflyer".

de Barra

What was perhaps the most refreshing feature of Russell's set actually had little to do with the music: It was her graciousness. It's one thing to shout out the likes of Carlile and Hozier for helping Russell land record deals with Concord Music Group and Fantasy, jam with Joni Mitchell, and get on Anais Mitchell's radar. It was another thing for Russell, when introducing her band, to detail each member's current projects, and to thank by name the touring group's bus driver and merch salesperson as well as every single staff member at the Vic. Russell certainly takes nothing for granted, and that she made the audience aware of each effort that made possible the concert they were watching, showed that her empathy extended well beyond her music.

Hopkinson & Russell

Kara Jackson

Opening for Russell was local hero and singer-songwriter Kara Jackson, to a crowd by this point familiar with her songs. Entering the stage donning a black and red dress with the word "Chicago" on it, Jackson launched into her controlled cover of Karen Dalton's "Right, Wrong or Ready" before performing cuts from her awesome debut album, Why Does the Earth Give Us People to Love? (September). Each time I see Jackson, I'm both reminded why she's effective and surprised to notice a new aspect of her artistry. For one, whether you've heard her or not, you'll always cackle when a song's opening line is, "Every guy thinks I'm his fucking mother," as on "therapy". But then there's "dickhead blues". While it's one of the finest songs of the decade, rife with clever wordplay, it was the simplest line in the song that hit me right in the chest at the Vic. When Jackson, after chiding the shitty men that have wronged her, repeatedly declared, "I am pretty top-notch," she then cooed, "I am useful." The word's connotation suggests something more cynical than the self-assuredness of "top notch," and it came across as flush with doubt. Both Russell and Jackson are so good at presenting these inner-conflicts in real time, using the live platform as a medium to lay them bare, face them head-on, and get the better of them.

[burpenterprisejournal]

MICHAEL THIEKE AND JD ZAZIE AT PAS

2025/04/03 Thursday concert series ANDREA NEUMANN / ALEXANDER MARKVART JD ZAZIE / MICHAEL THIEKE PAS Berlin - DE

The upcoming Thursday concert series at PAS will welcome two duos

Andrea Neumann - prepared piano Alexander Markvart - feedback guitar, objects

+

JD Zazie - playback devices, field recordings Michael Thieke - clarinet

Doors at PAS will open at 20:00, music will start a bit later. Kaiserin-Augusta-Allee 101, 10553 Berlin

Entrance in the courtyard, Aufgang II, 1.OG

[amadea-nachtmusik]

"Das Traumbild" ("The Dream Song"), K. 530, is a song, or Lied, for piano and voice by Wolfgang Amadeus Mozart to a poem by Ludwig Hölty.

Mozart wrote the song on 6 November 1787 in Prague where here prepared the premiere of his opera Don Giovanni. He sent the song by mail on 9 November to his friend and occasional composer Gottfried von Jacquin, who had it copied – with Mozart's knowledge – into a songbook of six songs under his own attribution. Four of the songs were indeed by Jacquin, Mozart's other contribution to this collection was "Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte", K. 520.

Emil Gottfried Edler von Jacquin was a son of Nikolaus Joseph von Jacquin and younger brother of Joseph Franz von Jacquin. Nikolaus and Mozart often gave house concerts together where Nikolaus played the flute. Gottfried also had a younger sister, Franziska (9 October 1769 – 12 August 1850) who received piano lesson from Mozart. Mozart dedicated a considerable number of his works to the Jacquin family, notably the Kegelstatt Trio. This was first played at the Jacquins' house in August 1786 with Mozart playing the viola, Anton Stadler the clarinet, and Franziska the piano.

Gottfried von Jacquin added different dedications to each of the six songs, and had his booklet published in Vienna by Laurenz Lausch in 1791; he died the following year, 25 years old. His family had it published again as part of his estate in about 1803 by Johann Cappi. Jacquin dedicated this song to Marianne von Natorp, sister of Joseph Franz von Jaquin's wife, Babette; both the Natorp sisters were also the dedicatees of Mozart's Sonata in C major for piano four-hands, K. 521, composed earlier in 1787. Mozart indicates in a letter from 4 November 1787 that this song may have improved Marianne Natorp's affection towards Jacquin.

Constanze Mozart offered both songs, K. 520 and K. 530, in 1799 to Breitkopf & Härtel for publication. The work was unknown to Ludwig von Köchel and is not catalogued in the first Köchel catalogue.

It was published in English by Broderip & Wilkinson in London in c. 1800 under the title "The Exile".

The Poem

Wo bist du, Bild, das vor mir stand,

als ich im Garten träumte,

ins Haar den Rosmarin mir wand,

der um mein Lager keimte?

Wo bist du, Bild, das vor mir stand,

mir in die Seele blickte,

und eine warme Mädchenhand

mir an die Wangen drückte?

Nun such' ich dich, mit Harm erfüllt,

Bald bei des Dorfes Linden,

Bald in der Stadt, geliebtes Bild,

Und kann dich nirgends finden.

Nach jedem Fenster blick' ich hin,

Wo nur ein Schleier wehet,

Und habe meine Lieblingin

Noch nirgends ausgespähet.

Komm selber, süßes Bild der Nacht,

Komm mit den Engelsmienen,

Und in der leichten Schäfertracht,

Worin du mir erschienen!

Bring' mit die schwanenweiße Hand,

Die mir das Herz gestohlen,

Das purpurrote Busenband,

Das Sträußchen von Violen.

Dein großes blaues Augenpaar,

Woraus ein Engel blickte;

Die Stirne, die so freundlich war,

Und guten Abend nickte;

Den Mund, der Liebe Paradies,

Die kleinen Wangengrübchen,

Wo sich der Himmel offen wies:

Bring' alles mit, mein Liebchen!

Where are you, vision, that stood before me

as I was dreaming in the garden,

winding rosemary into my hair,

that sprouted near my bed?

Where are you, vision, that stood before me,

who gazed into my soul,

and a maiden's warm hand

pressed against my cheeks?

Now I search for you, full of pain,

now by the village linden tree,

now in the town, beloved image,

and cannot find you anywhere.

At every window do I stare

where just a veil might flutter,

and have my dear darling

not espied anywhere.

Come you, sweet image of the night,

come with angelic mien,

and in that light shephard's costume,

in which you appeared to me!

And bring that swan-white hand,

that has my heart stolen,

that purple-red bodice ribbon,

that bunch of violets.

Your pair of large blue eyes,

from which an angel gazed;

the brow that was so kind,

and nodded good evening;

the mouth, that paradise of love,

the little dimples in your cheeks,

where open heaven did appear:

bring all of it, my love!

Ludwig Hölty wrote the poem "An ein Traummädchen" (To a Dream Girl) in 1771. It was first published in the Göttinger Musenalmanach of 1775 under the title "Das Traumbild".[4] This text was used by Franz Schubert in 1815, D. 204A, but that music is lost. However, the version Mozart used is very different, following the publication of a collection of Hölty's poems by Friedrich Leopold zu Stolberg-Stolberg and Johann Heinrich Voß in 1783.

Each of the four stanzas consists of eight lines as a pair of two ballad metre four-line segments, each consisting of a iambic tetrameter followed by a iambic trimeter with feminine rhyme of ABAB–ACAC.

The Music

The song is written in the time signature of 6/8 and in the key signature of E-flat major, the key that Mozart used for the Countess in The Marriage of Figaro.[7] The tempo instruction is ruhig (quiet), equivalent to andante. The vocal range is mainly from E-flat4 to F5, with one G5–A-flat5 figure.

The song begins with a two-bar piano introduction. The first four lines of each stanza take four bars, followed by a two-bar interlude, and four bars for the next four lines. A postlude, based on the theme from the interlude, then leads into the next stanza.

The structure is not through-composed but strophic (all four verses are identical). The text and the music leave it undecided whether the vision can ever be found.[7] Amanda Glauert suggests that, compared other Lieder by Mozart, especially to "Das Veilchen", K. 476, "Das Lied der Trennung", K. 519, "Abendempfindung", K. 523, and "Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte", K. 520, "Das Traumbild" lacks responsiveness to the text and melodic tautness.

A performance of all four stanzas takes between five and six minutes, but some recordings consist only of one, two or three stanzas.

Score Page-Through Here 👇

https://gallica.bnf.fr/ark:/12148/btv1b55006511h/f3.item.r=mozart.langFR

Text Source: https://en.m.wikipedia.org/wiki/Das_Traumbild

[davidisen]

Long time, no post.

When the striped bass start biting, I'm distracted. You can see my last post was in May. The fish were almost jumping into the boat.

I did get a chance to do a brief music safari in May to hear Hamilton de Holanda and Chris Potter play at the Kennedy Center in Washington DC.

That's "Big" Rabello on percussão, and Salomão Soares on keys.

On June 1, we hosted The Lovestruck Balladeers, a ragtime/swing super-group, for a Woods Hole house concert!

That's Jake Sanders (guitar), Mike Davis (trumpet), Dennis Lichtman (mandolin and clarinet), Sean Cronin (bass) and Dalton Ridenhour (piano).

The Balladeers had a friend in the audience:

[cpmgomis]

Aula de clarinet del Conservatori J.M. Gomis d'Ontinyent

Aquest dimarts 17 de desembre, l'aula de clarinet del conservatori mitjançant el seu professor Jose Antonio Casanova Insa, ha organitzat un concert didàctic en l'institut Jaume I d'Ontinyent en el que han interpretat música de diverses èpoques i estils i han explicat les característiques principals de cada peça. L'alumnat de l'institut ha pogut gaudir d'un concert de qualitat on han après i ho han passat genial.

https://www.instagram.com/share/p/_qujHBo7v