#Symphony No. 104 in D Major

[paul-archibald]

Franz Joseph Haydn (1732-1809)

Joseph Haydn served for thirty years as Kapellmeister to Prince Nikolaus von Esterhazy, one of the most distinguished patrons of music ever.  When the prince died in 1790, Haydn was offered a generous pension and might reasonably have been expected to retire after an honorable career. Instead, the 58-year-old composer was reinvigorated by making two lengthy visits to London in the years 1791-2…

[rosetinted-escape]

Unnatural Selection-Muse; Harmonic Analysis

This is essentially just going to be a music theory word vomit BUT hopefully it makes sense. I'm gonna put it under the cut bc it's probably gonna be quite long.

I'm so sorry guys, this is pretty terminology heavy. I hope it all makes sense, but if anything doesn't, please let me know and I'll do my best to explain!

A few notes: -I use roman numerals to indicate chord positions in relation to the key. Capitals are used for major chords, lower case for minor chords and (not relevant here) lower case italics for diminished chords. -A perfect cadence is literally just V-I or V-i in any key. It's a pretty key component in classical music and Matt Bellamy uses them frequently in his writing. There are other types of cadence as well, but they're not relevant here (feel free to ask if you're curious though! I'm more than happy to explain). -A crotchet is a quarter note and a quaver is an eighth note. I'm British and that's what we call them here idk what to say. -I've made comparisons to what is generally done in Western Classical Tradition because I know that Matt Bellamy takes a fair amount of inspiration from classical music, and the harmony he uses is often what would be considered 'functional' in the WCT.

Intro:

-Begins with strongly implied E minor key. -Approximately 125-130bpm -Em |Am |D7 |G |C A/C# |D B/D# |Em C D |G | This is a really nice little chord sequence. It starts with a diatonic circle of fifths until we get to the C major chord in bar 5, and then we start moving up a chromatic bassline. The chromaticism is highlighted by putting the non-diatonic notes in the bass (in this case, the A# of the A major chord and the D# of the B major chord). This builds to an E minor chord, which is immediately followed by a IV-V-I perfect cadence in G major, which solidifies the key. G major is the relative major of E minor, where we started. This is a typically classical place to modulate to.

Verse:

-Begins in Gm. No prepared modulation, just moves straight from G major to G minor. Perhaps surprisingly, this is a reasonably common occurrence in classical music; for the intro to be in the tonic major/minor of the main key. An example of this can be seen in Haydn's symphony 104, where the intro is in Dm and the main symphony/first movement is in D major. -Gm |D7 :| x4 The verse chords are the tonic (first) and dominant (fifth) chords repeated 4 times. This creates a cycle of perfect cadences, as well as a perfect cadence going into the pre-chorus. However, the movement in the bassline guides the listener to only really hear the finality of the cadence every 4 bars rather than every 2 bars. -Tempo change! We've moved from 125-130bpm in the intro to around 160bpm. This is the tempo for the rest of the song aside from the bridge.

Pre-Chorus:

-Aforementioned perfect cadence from the end of the verse into the start of the pre-chorus. -Gm |Bb |Cm |F |Bb |Gm |Dsus4 |D7 |Gm |D7 | Here, the chord sequence kind of flirts with the relative major key of Gm, which is Bb major. This can be seen from bars 3-5, where we have what could be read as a ii-V-I perfect cadence in Bb major. However, we are immediately dragged back into Gm, with a build up to the chorus, and some nice tension created with the Dsus4 chord. We finish on a D7, which can then act as a perfect cadence into the chorus.

Chorus:

-Perfect cadence from end of pre-chorus into the chorus places us in G minor. -Gm |Cm |F7 |Bb |Eb C/E |F D/F# |Gm Eb F |Bb | Lots going on here! If it looks similar that's because it is! It has the exact same harmonic function as the intro, just in a different key. At the start of the chorus we are solidly in Gm, with the same diatonic circle of fifths, followed by the same chromatic rising bass and then the same IV-V-I perfect cadence in the relative major, Bb. This means by the end of the chorus we are in Bb, which is a pretty classical standard classical place to modulate. However we do move pretty much immediately to Gm as we move into the next verse/bridge. -A thing I think is interesting to note is that the diatonic circle of fifths takes the 'dark' direction a circle of fifths can take (essentially towards flat keys/chords). I think this really fits the vibe of the song and also provides a nice contrast against the rising chromatic bass in the following bars.

Bridge:

-Metric modulation! We have changed from 4/4 to 6/8 or 12/8 (depending on how you want to divide it). We have also changed tempo, to approximately 37 DOTTED crotchet beats per minute. We use a dotted crotchet here because we're in compound time rather than simple time (4/4 is simple time, which is why we used undotted crotchet bpm there). Creates a very different vibe to both the intro and the rest of the song. This is not something that is particularly common in Muse songs (or most songs tbh). -Gm Dm |Eb Cm |Bb Bbm |D D7 :| x6 Here we are pretty solidly in Gm throughout. There are D/D7 chords at the end of the sequence which repeats back to create perfect cadences with the Gm at the start of the sequence. The Bb to Bbm creates some nice contrast to what is otherwise a very diatonically Gm (harmonic scale) chord sequence, as the Db in a Bbm chord is not diatonic to the key of Gm. I do think having the III become minor is a very interesting decision and not one I've seen before.

[posttexasstressdisorder]

Thursday, 11-21-24, 8am Pacific

'Mornin' folks...it's a draggin' Mr. Baggins back with our Morning Coffee Music, selections to get us in gear and in good cheer. There is no better way to start the day than with a little Bach. Here is Harpsichordist Malcolm Hamilton, recorded on Everest Records in 1964, with Prelude and Fugues numbers 1 , 2 and 3 from Book 1 of The Well Tempered Clavier. It was this very 6 -record set that I got mail-order, along with a 10-LP set of the Complete Concerti of Bach, on Murray Hill. Ah, the old days! Top up your cup and enjoy.

Here is one of only two recordings by Vladimir Horowitz and Fritz Reiner. Here is their magnificent recording from 1952, of Beethoven's Concerto No. 5, the "Emperor" Concerto. Horowitz at the piano and Reiner at the helm of the NBC Symphony Orchestra. Pour another cup and enjoy!

Readers of Horowitz' story know that a very young and very nervous Vladimir Horowitz, Gregor Piatigorsky (a young cellist) and Nathan Milstein (a young violinist) all left the Soviet Union together in the 1920s and never returned as Soviet citizens. They toured together, and all three went on to renowned solo careers. Here is Piatigorsky's wonderful reading of Dvorak's Cello Concerto in B minor, Op. 104, with the Boston Symphony conducted by Charles Munch. Another RCA Living Stereo masterpiece of a recording!

Let's hear another installment of our series of the Symphonies of Dvorak recorded in '65 by Istvan Kertesz and the London Symphony. I believe we heard number 5 last, so here is Dvorak's 6th Symphony, in D Major, Op. 60.

American pianist William Kappel was, like Kertesz, cut down at the beginning of a promisingly brilliant career. Kappel was killed in a plane crash on his way back from a tour of Australia. This is one of the two Rachmaninoff recordings he left us, and truly one of the most brilliant performances of it I've ever heard. This is Rachmaninoff's Rhapsody on a Theme by Paganini, Op. 43, recorded in 1951. The Robin Hood Dell Orchestra is led by none other than Fritz Reiner. Enjoy!

Here is Schubert's Quintet in C major, Opus 163 in a historic recording by Isaac Stern: violin-Alexander Schneider: violin-Milton Katims: alto-Pablo Casals:cello-Paul Tortelier: cello. From 1952.

Now let's hear music of Paganini, an album of works for Violin and Guitar duo. We'll hear Sechs Sonaten Für Violine Und Gitarre, Op 2, 6 Pieces, played by Gyorgy Terebesi and Sonja Prumbauer. I have this record...it's delightful stuff!

Now let's hear this one fragment I was able to find of a marvelous CD called "Under A Near Sky", by oboist John Dee and the Tantalon Ensemble. This is the first movement of the Mozart Oboe Quartet in F Major. I will keep trying to find the whole thing out there, but if you can find a copy of this CD, buy it! You won't regret it!

That's all the space we've got for today's Morning Coffee Music. Hope you've enjoyed this morning's music! I'll be back at 2pm Pacific with your Afternoon Stack of Classic Wax!

Until then, be kind, babies, be kind.

Baggins out.

[masayoshi-kawaharablr]

Verbier Festival Chamber Orchestra - Haydn: Symphony No. 104 in D Major:...

[theresa-of-liechtenstein]

24, 38, 41, 59, 83

of course!!

24.

38.

41.

59.

83.

[odedmusic]

Symphony No. 104 in D Major "London": III. Menuetto & trio, allegro

#OdedFriedGaon #OdedMusic

[dopingconsomme]

[2022年04月15日の記事一覧] http://dailyfeed.jp/feed/23378/2022-04-15

(全 19 件)

1. KEYTALK - 太陽系リフレイン

2. MONOEYES - グラニート

3. miwa - ヒカリヘ

4. KEYTALK - MONSTER DANCE

5. 小瀬村晶 - Untouched Rainforest, Pt.1

6. Cö shu Nie - asphyxia - Live at Sony Music AnimeSongs ONLINE 2022

7. NIYARI計画 - 【ヒーリング】虹 映画『STAND BY ME ドラえもん 2』 ORIGINAL COVER HEALING DANCE Ver.

8. アントン・ブルックナー - Symphony No. 4 in E-Flat Major, WAB 104 "Romantic": III. Scherzo. Bewegt – Trio. Nicht zu schnell, keinesfalls schleppend (2nd version, 1878–80)

9. 横山 克 - Dear My Loneliness and Darkness

10. セルゲイ・ラフマニノフ - 6 Romances, Op. 38: No. 3, Daisies

11. amazarashi - 空白の車窓から

12. daigoro789 - Guren no Yumiya: Animenz Version (From "Attack on Titan" OP1) [For Piano Solo]

13. Marcus D - Rainin Outside

14. Pinko - Piano Sonata "Heavens" - From "Ah! My Goddess!"

15. FamilyJules - Roar of Dedede

16. 三浦大知 - 燦燦

17. Rich Douglas - Terminator 2: Judgement Day - Main Theme - 2022 Re-recording

18. fox capture plan - Ultimate Formation

19. GlitchxCity - Vibing on Outset Island

from lastfm&fc2, http://dailyfeed.jp/feed/23378/2022-04-15

[mrrajuseo]

Learn how to easily play D chord on the guitar

D major is potentially the most standard harmony used in tunes in all cases (checking Billboard). For what reason could that be? The D harmony guitar has a long history. We see it awaken during the Baroque time period (seventeenth eighteenth many years) when it was insinuated as the "key of brightness." Most of Mozart's unnumbered symphonies are in D major, and 23 of Haydn's 104 troupes similarly use the D harmony guitar.

Simple Way To Play D Chord Guitar 2021

Its distinction continued into the Romantic time period and past, without a doubt because the violin's strings are tuned to G – D – A – E, making creators a touch more insightful to D major.

Another support for its reputation may stem back to when people played tin whistles. An enormous bit of the whistles should be played in D, so accepting someone expected to play their guitar close by the town whistler, they expected to play in D major.

[mervecetxnmusic]

Josephy Haydn: Symphony No. 104 in D major, 4. Finale-Spiritoso (week 11)

Haydn was an Austrian classical music composer. It affected both Mozart and Beethoven. Known as "Father Haydn". He is best known for his symphony type works. He lived most of his professional career as a "chief musician" under the auspices of the wealthy Hungarian Esterhazy Family. During his stay there, he conducted many concerts and operas as a conductor. His life far from other composers and ascetic led him to produce original works different from the musical movements of the period. He expressed this situation with these words: "I lived a solitary life. Nobody around me can surprise me as much as I do, and nobody can suffer me as much. That's why I had to be different and authentic."

In my point of view, maybe back in time he was unique but i found him boring and fails to activate any of my senses. I can imagine how successful and loved he was in his own time, but I don't feel the need of listening again any of his work. I get the same vibe from every work of his.

The work was composed in 1795 while Haydn was living in London, and premiered there at the King’s Theatre on 4 May 1795, in a concert featuring exclusively Haydn's own compositions and directed by the composer. The premiere was a success; Haydn wrote in his diary "The whole company was thoroughly pleased and so was I. I made 4000 gulden on this evening: such a thing is possible only in England.” The Symphony No. 104 in D Major is his final symphony.

[dreamin8r]

Schau dir "London Symphony, No. 104 in D major by Joseph Haydn | Duo Z on Classical Guitar - Siccas Media" auf YouTube an

[ojolosoy]

gli occhi nella mattina molto brioso!

[posttexasstressdisorder]

Wednesday, 12-04-24, 7pm Pacific

'Evenin', everyone...Mr. Baggins here with a set to soothe your achin' nerves and help ease us all into a good night. Let's start the evening off with a little Beethoven, the next Symphony in our survey of the nine Beethoven left us is the Symphony No. 4 in B-flat, Op. 60. Lenny leads the Vienna in a live performance from November 1978.

Let's listen now to Saint-Saens Symphony No. 3 in a classic recording by Charles Munch and The Boston, spectacularly captured in RCA Living Stereo. Our Organist is Berj Zamkochian, and Pianists Bernard Zighera and Leo Litwin. Recorded April 6, 1959. This is a decidedly different reading from the Ormandy/Murray recording we heard in a past evening's program.

Now let's have another of Chopin's Scherzos by Horowitz. Here is the Scherzo No. 3 in C-sharp minor, Op. 39, recorded in 1957. Another one of those "historic reference recordings" for a reason!

Let's hear one of the young Felix Mendelssohn's early String Symphonies. We hear his String Symphony No. 2 in D Major, performed by the Northern Chamber Orchestra, conducted by Nicholas Ward.

Now let's hear a different reading of Mahler's 4th Symphony. This time Fritz and The Band do the honors, with soprano Lisa Della Casa. Recorded December 6 and 8th, 1958.

And we turn now to another historic recording by the phenomenal Ferruccio Busoni, From the LP International Piano Archives, IPA 104, 1976 Rec. February 27, 1922, London studios of British Columbia. We hear Bach: Prelude & Fugue in C major, WTC, Book, Bach-Busoni: Organ Prelude "Rejoice, Beloved Christians", Beethoven-Busoni: Ecossaises, Chopin: Prelude in A major, Op. 28 No. 7, Etude in G-flat major, Op. 10 No. 5, Chopin: Etude in E minor, Op. 25 No. 5, Chopin: Etude in G-flat major, Op. 10 No. 5 (alternate version), Chopin: Nocturne in F-sharp major, Op. 15 No. 2, and Liszt: Hungarian Rhapsody No. 13 (abbreviated). Again, these are 102+ year old ACOUSTIC recordings!

Next we hear the Symphony No. 53 in D Major, "L'Imperiale", Neville Marriner and The Academy do the honors.

We turn now to the music of Vaughan Williams played by Marriner and The Academy; we hear his Partita for Double String Orchestra.

Now we hear Fritz and The Vienna in Richard Strauss' "Til Eulenspiegel's Merry Pranks". Recorded on Decca in 1957!

That's all the time we have for this evening's program. I do hope you have enjoyed the selections and possibly heard something new to your ear. This is Mr. Baggins, signing off for now, I'll return at 8am Pacific with our Morning Coffee Music.

Until then, dream sweet dreams, babies, dream sweet dreams.

Baggins out.

[quarantinemusiccalendar]

Day 40: Antonín Dvořák - A selection of some of his less known works

Antonín Dvořák (1841 – 1904) is known worldwide as the Czech composer who wrote the “New World Symphony” (more properly The Symphony No. 9 in E minor, "From the New World", Op. 95). Some are also able to identify the Slavonic dances, Humoresque, Serenade for Strings in E major or his requiem for orchestra and choir named Stabat Mater. Or the “Song to the Moon” aria from his opera Rusalka, which is quite often performed separately as a concert piece, all around the world, but in Czech. And for Czechs it’s quite bizarre, lovely and disorienting to hear American, English, Japaneese, Russian, German, Dutch and various other international singers sing “Měsíčku na nebi stříbrném” in Czech but with strange accents. I have to admit, everytime I hear that, I simply cannot focus on their vocal performance, but rather on their accent and pronounciation. Well, that’s that perculiarity. Dvořák is also known for frequently incorporating various (Slavic) folk dance forms and folk songs into his music. His major works reflect his Czech heritage and love for Bohemia while keeping touch with the modern classical music of his period which was performed abroad.

Dvořák was a very versatile and prolific composer and I would like to introduce some of his equally great, but less known works.

(Below photos of his birthplace, the village Nelahozeves on the banks of river Vltava & New York, both at around 1895 - 1900.)

Dvořák may be known for the amazing Largo in his “New World Symphony”, which he composed during his stay in New York in 1893, but it was already his 9th one. And several of his earlier symphonies are also worth a good listening session. In 1880 he published a Symphony in D major, back then as his first one, now known as No. 6. It was one of the first of Dvořák’s large symphonic works to get international attention. It was composed for the Vienna Philharmonic Orchestra and was expected to premiere in December 1880. But it was pushed back several times and finally premiered in March of the following year in Prague by the Czech Philharmonic. The conductor of the Vieneese Philharmonic eventually got to conduct it in 1882 in London. It is a quite pastoral composition, it features echoes of Bohemian folk dances, as well as influences of Beethoven and Brahms, probably in an attempt to suit the Viennese musical taste. The Symphony No. 8 in G major, was composed in the autumn of 1889 at his summer house at Vysoká u Příbramě on the occasion of his election to the Czech Academy of Science, Literature and Arts. Compared to his other symphonies and as well as other symphoniesof that period, this composition is markedly cheerful and optimistic. It seems to be inspired by the local landscape and a peaceful summer's day interrupted by a storm. Rondo in G Minor (Op. 94) is a piece for violoncello and piano written shortly before his journey to America. It reflects the melancholy before his long travel overseas. The Cello Concerto in B minor (Op. 104) is the last solo concerto Dvořák has written. It was composed in in late 1894, probably one of the last works he composed in New York, before he returned back to Prague. It is regarded as one of the greatest compositions for cello. (Photo: The manuscript of his 9th Symphony “From the New World”)

But some of his works are unfortunatelly somewhat limited by the language barrier. That’s the case of his Biblical songs. In the spring of 1894, while he was living in New York City and working as the director of the National Conservatory of Music, three of his friends and acquaintances passed away in the winter or 1893 / 1894. And shortly after that, he learned that his elderly father back in Bohemia is nearing death. In the few weeks comming up to Easter that year, he composed 10 songs for soprano and piano set to the text of 10 Psalms. They are some of the most intimate works he has written. The texts are taken from the Bible of Kralice, a Czech 16th century translation of Bible. The original unorchestrated piano version was published in Czech in 1895, with English and German translations accompanying the Czech text. Dvořák took particular care that the translations were appropriate to the vocal line, not necesarrily the same as in the English translation of Bible used at that time. A year after that Dvořák left New York and returned home. And even if you don’t speak / understand Czech, do listen to it. You can look up the words in any translation of the Bible.

(Photo: The pigeon breeder Dvořák and his birds in Vysoká) A not so well known fact is, that Dvořák was (by many accounts) a kind and pious man, an avid fan of railways and he kept and bred pigeons. Some of his pidgeons had been gifts from the English Royal Family who had learned of his love of these birds during one of his many British visits. And when in America he constantly enquired about their well-being in correspondence with his housekeeper back in Vysoká, sending lists of instructions making sure the pigeons received the best care possible.

Happy Sunday, relax and enjoy.

Highlights: - Biblical Songs (Op.99) - No.4 “Hospodin jest můj pastýř“ (Psalm 23: ”The Lord is my Shepherd“) - Biblical Songs (Op.99) - No.9 “Pozdvihuji ocí svých k horám“ (Psalm 121: “I will lift up mine eyes unto the hills“) - Symphony No. 6 in D major (Op. 60) - I. Allegro non tanto - Symphony No. 6 in D major (Op. 60) - IV. Allegro con spirito - Symphony No. 8 in G major (Op. 88) - I. Allegro con brio - Symphony No. 8 in G major (Op. 88) - IV. Allegro ma non troppo - Rondo in G Minor (Op. 94) - Cello Concerto in B minor (Op. 104) - I. Allegro Playlist: https://spoti.fi/2R41MS0 Note: This is the 2nd playlist, the one for the classical / orchestral music: Quarantine Classical Music Calendar. Links and references: - Antonín Dvořák - Wikipedia - Biblical Song by Antonín Dvořák - Wikipedia - Symphony No. 6 in D major (Op. 60) - Wikipedia - Symphony No. 8 in G major (Op. 88) - Wikipedia - Cello Concerto in B minor (Op. 104) - Wikipedia

[sonyclasica]

RUDOLF FIRKUŠNÝ

THE COMPLETE RCA AND COLUMBIA ALBUM COLLECTION

Sony Classical conmemora el 25 aniversario de la muerte del pianista checo Rudolf Firkušný con una caja de 18 CD que recopila las grabaciones que realizó para Columbia y RCA entre 1949 y 1993. Un total de nueve LP aparecen por primera vez en CD y han sido remasterizados de los masters analógicos originales. A la venta el 13 de septiembre.

Nacido en 1912 en Napajedla (Moravia), Firkušný fue instruído por algunas de las figuras musicales más destacadas de su tiempo. Así estudio piano y composición en Brno durante diez años junto a Janáček, piano con Vilém Kurz en Praga, y composición con el yerno de Dvořák, Josef Suk, también en Praga. Más tarde, gracias al apoyo de Tomáš Masaryk, el primer presidente de Checoslovaquia, estudió piano con Alfred Cortot en París y con Artur Schnabel en Berlín e Italia.

Durante la década de 1930, Firkušný alcanzó fama internacional como intérprete principal de concierto, repertorio de cámara y solista. Sin embargo, su reputación se basa principalmente en su inigualable maestría en la música de piano de sus compatriotas checos Dvořák, Janáček y Martinů.

La carrera de grabación de Firkušný, que duró media década, comenzó en serio en el estudio 30th Street de Columbia, después de haber escapado de la Europa nazi y establecerse en Nueva York. Allí, a partir de 1949, grabó interpretaciones memorables de Mozart, Beethoven, Schubert, Schumann y Chopin. También de Samuel Barber y Howard Hanson, entre los muchos compositores estadounidenses cuyos trabajos estrenó. Todo esto está incluido en la nueva colección de Sony Classical.

En 1953 Firkušný grabó por primera vez las obras para piano de Janáček con la Orquesta de Filadelfia, cuando estas obras maestras apenas se conocían fuera de Checoslovaquia. Dos años más tarde realizó su primera grabación de un concierto para piano de Dvorak junto a la Cleveland Orchestra, dirigida por George Szell. Posteriormente, en 1975-76, grabaría los dos Cuartetos de Piano de Dvorak en los citados estudios de la 30th Street, junto al Cuarteto Juilliard.

En 1988 grabó en Londres, acompañado por la Royal Philharmonic bajo Claus Peter Flor, las Variaciones Sinfónicas de Franck. Al año siguiente, hizo un álbum de música para piano solo de Martinů.

En Nueva York, Firkušný también grabó las Sonatas para violonchelo de Martinů con János Starker y un recital de canciones de Dvořák, Janáček y Martinů con la soprano Gabriela Be Gabraččá. Este disco fue calificado por Gramophone como “de gran y rara belleza”. Su última grabación de tres conciertos para piano de Martinů se realizó en Praga en 1993 y fue lanzada a título póstumo.

CONTENIDO

DISC 1:

Schumann: Fantasie in C Major, Op. 17 (Remastered)    

Schumann: Kinderszenen, Op. 15: No. 7, Träumerei (Remastered)    

DISC 2:

Mozart: Fantasia in C Minor for Piano, K. 475 (Remastered)    

Mozart: Piano Sonata No. 14 in C Minor, K. 457 (Remastered)    

Mozart: Fantasia in C Minor for Piano, K. 396 (Remastered)    

Chopin: Piano Sonata No. 3 in B Minor, Op. 58 (Remastered)    

DISC 3:

Kreisler: Caprice viennois, Op. 2 (Remastered)    

Tchaikovsky: Valse-scherzo in C Major, Op. 34 (Remastered)    

Paganini: Violin Sonata in G Major, Op. 3, No. 8 (Remastered)    

Paganini: Caprice in A Minor, Op. 1, No. 24 (Remastered)    

Sarasate: Introduction et Tarantelle, Op. 43 (Remastered)    

Beethoven: Violin Sonata No.10 in G Major, Op.96 (Remastered)    

DISC 4:

Barber: Knoxville: Summer of 1915, Op. 24 (Remastered)    

Barber: Four Excursions, Op. 20 (Remastered)    

Hanson: Piano Concerto in G Major, Op. 36 (Remastered)    

DISC 5:

Schubert: Four Impromptus, D. 899, Op. 90 (Remastered)    

Schubert: Four Impromptus, D. 935, Op. 142 (Remastered)    

DISC 6:

Janáček: On the Overgrown Path, JW VIII/17, Book 1 (Remastered)    

Janáček: Piano Sonata 1.X.1905, JW VIII/19 (Remastered)    

Janáček: In the Mists, JW VIII/22 (Remastered)    

Janáček: Concertino, JW VII/11 (Remastered)    

DISC 7:

Dvořák: Piano Concerto in G Minor, Op. 33    

DISC 8:

Chopin: Sonata for Cello and Piano in G Minor, Op. 65 (Remastered)    

Prokofiev: Sonata for Cello and Piano in C Major, Op. 119 (Remastered)    

DISC 9:

Dvořák: Piano Quintet in A Major, Op. 81    

Dvořák: Bagatelles for 2 Violins, Cello and Harmonium, Op. 47    

DISC 10:

Dvořák: Piano Quartet No. 1 in D Major, Op. 23    

Dvořák: Piano Quartet No. 2 in E-flat Major, Op. 87    

DISC 11:

Martinů: Les Ritournelles, H.227    

Martinů: Fantaisie et Toccata, H.281    

Martinů: Piano Sonata No.1, H.350    

Martinů: Julietta, H.253, Act II, Scene 3: Moderato    

Martinů: Etude in C/ut/do: Allegro (Book II)    

Martinů: Polka in F/fa: Poco Allegro (II)    

Martinů: Etude in A/la: Vivo (I)    

Martinů: Pastorale: Moderato (I)    

Martinů: Etude in F/fa: Allegro (II)    

Martinů: Polka in E/mi: Allegro moderato (II)  

Martinů: Polka in D/re: Poco Allegro (I)    

Martinů: Polka in A/la: Moderato (III)    

Martinů: Etude in F/fa: Allegro (III)    

DISC 12:

Franck: Symphony in D Minor, FWV 48    

Franck: Symphonic Variations for Piano and Orchestra, FWV 46    

DISC 13:

Janáček: Piano Sonata 1.X.1905, JW VIII/19    

Janáček: On the Overgrown Path, JW VIII/17, Book 1    

Janáček: On the Overgrown Path, JW VIII/17, Book 2    

Janáček: A Recollection, VIII/32    

Janáček: In the Mists, JW VIII/22    

DISC 14:

Dvořák: Piano Quintet No. 2 in A Major, Op. 81, B. 155    

Dvořák: Piano Quintet No. 1 in A Major, Op. 5    

Dvořák: 8 Humoresques, Op. 101, B. 187: No. 1. Vivace in E-Flat Major    

Dvořák: Gypsy Songs, Op. 55: No. 4, When My Mother Taught Me to Sing - No. 5, The Strings Are Tuned    

Dvořák: Piano Trio No. 4 in E Minor, Op. 90, B. 166: "Dumky", V. Allegro    

DISC 15:

Dvořák: Piano Concerto in G Minor, Op. 33, B.63    

Janáček: Concertino for Piano and Chamber Ensemble, JW VII/11    

Janáček: Capriccio for Piano (left hand) and Chamber Ensemble, JW VII/12    

DISC 16:

Martinů: Sonata No. 1 for Cello and Piano, H. 277    

Martinů: Sonata No. 2 for Cello and Piano, H. 286    

Martinů: Sonata No. 3 for Cello and Piano, H. 340    

DISC 17:

Dvořák: Písne milostné (Love Songs), Op. 83, B. 160    

Dvořák: Cigánske melodie (Gypsy Songs), Op. 55. B. 104    

Martinů: Písnicky na jednu stránku (Songs on One Page), H.294    

Janáček: Moravská lidová poesie v písních (Moravian Folk Poetry in Song), JW V/2    

Dvořák: V národním tónu (In Folk Tone), Op. 73, B.146    

Dvořák: Biblické písne (Biblical Songs), Op. 99, B. 185    

DISC 18:

Martinů: Piano Concerto No.2, H.237    

Martinů: Piano Concerto No.3, H.316    

Martinů: Piano Concerto No.4, H.358 "Incantation"

[lemon2sang]

시벨리우스는 시벨리우스 아카데미 출신 지휘자로만 듣는다! 어찌어찌 하다 보니까 공연장에서 시벨리우스는 시벨리우스 아카데미 출신 지휘자로만 들어왔다. 내일도 그렇고. 개인적으로 한 작곡가의 곡으로 구성된 프로그램 별로 선호하지 않는데 그래도 시벨리우스 교향곡 6, 7번이고 오스모 벤스케니까. 하지만 서곡이나 협주곡 말고 가곡같은 다른 곡으로 선정했으면 하는 아쉬움이 남는다. 내년에도 이런 프로그램이면 절대 가지 않으리. 내 최애의 시벨리우스 전곡 녹음인 벤스케와 라티 심포니. 이번에는 미네소타 오케스트라와의 녹음으로 한번 듣고 가본다. SIBELIUS: Symphony No. 6 in D minor op. 104 SIBELIUS: Symphony No. 7 in C major op. 105 Osmo Vanska (conductor) Minnesota Orchestra https://open.spotify.com/album/3rmHn8Dj8W7WMUqxfO92Do 오늘 서울시향 공연은 오늘날 왜 시벨리우스를 들어야 하는지 곰곰이 생각하게 해 준 공연이었다. 핀란디아 서곡은 역시 수없이 많이 연주했을 오스모 벤스케 지휘자가 핵심 정리해준 연주였다. 들으면서 이 서곡 하나로 핀란드라는 나라의 위상이 얼마나 높아질 수 있었는지 이는 어떤 경제적 효과로 측정 불가능할 것이다. 오랜만에 객원 악장이 왔는데 미네소타심포니 악장인 에린 키프. 지휘자와 오랜 시간 함께 했기에 오랜만에 현악 파트가 도전적이고 과감한 모습을 보여준 거 같다. 그것이 현악 부분을 강조한 교향곡 6, 7번에서 두드러지게 드러났다. 작곡가 본인이 바이올린을 연주했지만, 이것이 협주곡의 솔로 부분보다는 협주곡 현악 파트나 교향곡이나 서곡의 현악파트에 더 잘 드러나는 거 같다. 변화무쌍한 북구의 대자연을 묘사한 교향곡 6번을 들으면서 베토벤의 교향곡 6번 '전원'과 비견되는 명곡이라고 느���졌다. 같이 자연을 묘사했지만 스케일은 전혀 다른 자연을 묘사했다. 교향곡 7번의 마지막 현악 파트에서는 말러의 교향곡 9번 4악장이 떠올랐다. 말러 이후 이런 현악의 향연을 보여준 작곡가가 있으랴? 제국주의 시대의 종말과 각종 혁명의 시대에 피폐해지는 경제로 인한 각종 파시즘과 전쟁의 광기가 드리우는 유럽에서 과연 이런 선율을 작곡하는 것이 어떤 의미였는지 생각하게 된다. 시벨리우스의 후기 교향곡을 연속으로 들으면서 과연 100년 전의 지구 반대편의 민족주의자 작곡가의 음악이 현재 우리에게 무엇을 의미하는가 하는 생각을 하게 되었다. 음악 자체에 여러 의미를 포함하더라도 결국 예술은 미, 아름다워야 한다. 그리고 아름다움이란 인간이 인위적으로 만든 것이 아닌 결국 자연을 묘사해야 한다는 것이다. 그리고 그것이 후대에도 전해지고 이해되고 기억되는 것이다. 자연만큼 아름다운 것이 없으며 감동을 주는 것이 없다. 지금 우리 시대는 바로 이것을 잃어버리고 살고 있지는 않은지 돌아봐야겠다. 마지막으로 바이올린 협주곡. 이렇게 예쁘게 연주된 시벨리우스 바이올린 협주곡은 처음 들어본다. 양인모의 연주는 마치 반에서 일 등 하는 모범생의 연주 같았다. 이런 연주의 장점은 대형 참사 같은 일은 없지만, 연주가 재미없다. 오케스트라는 전적으로 협연자를 맞춰주는 모습을 보여주었다. 과연 이런 모범생 연주가 수없이 많은 연주자와 녹음들이 존재하고 있는 이 바닥에서 필요할까 하는 생각이 든다. 한국 남자 바이올린 솔리스트가 턱없이 부족한 상황에서 안타깝다. 연주하는 동안 고인이 된 권혁주 바이올리니스트가 계속 떠올랐다. 조금 튀어도 개성 강했던 권혁주의 연주를 사람들이 왜 기억하고 있는지 협연자는 느껴야 하겠다.