#andante con moto

[chez-mimich]

LILIANA MORO, ANDANTE CON MOTO (parte I)

Che “Bella ciao” sia ormai un canto di protesta contro gli oppressori ed un inno alla libertà, è ormai universalmente riconosciuto. Naturalmente lo era anche nel 2010, quando Liliana Moro lo scelse per una essenziale ma toccante installazione sonora che è stata ricostruita nella sala d’ingresso del Pac di Milano in occasione della mostra, appena conclusasi ed intitolata “Andante con moto”. La sequenza continua di varie versioni in molte lingue, fuoriesce da una tromba acustica che pende dal soffitto: quasi una dichiarazione d’intenti, messa in grande evidenza, prima che il visitatore intraprenda il percorso verso le (altre) opere. Sulla parete di fondo una gigantografia in b/n del paesaggio industriale di Milano visto da via Breda, quartiere Bicocca, prima della sua trasformazione in zona universitaria, che sembra manifestare un desiderio di affermazione identitaria dell’artista. “Andante con moto” è una mostra da vedere e da ascoltare, come già fa presumere il titolo. Il suono, con le sue potenzialità comunicative e, perché no, ideologiche, è un mezzo ampiamente utilizzato dall’artista italiana nelle installazioni ambientali. E non è una novità che oggi, sempre più spesso, gallerie d’arte, spazi espositivi e musei, lo utilizzino per “accompagnare” le opere esposte. Siamo quindi in presenza di un avvenimento precursore di tendenze che sembrano ormai avere sempre più spazio. “Le nomadi” è una essenziale installazione costituita da una serie di zaini e zainetti, depositati a terra, dai quali fuoriescono famose arie d’opera cantate da Maria Callas, alternate e confuse con piste sonore che riproducono il rumore dell’acqua che scorre, e dedicata idealmente alle donne che hanno avuto un certo peso nella vita dell’artista. Si può dire che sue opere il suono diventi una sorta di architettura, capace di modellare gli spazi e di dar loro senso. Per Liliana Moro, l’estetizzazione dell’opera sembra essere un ostacolo al suo diretto intento comunicativo che è il vero scopo del suo agire. In “Moi” questo obiettivo risulta più evidente che mai: in questa installazione del 2012, dodici casse acustiche su lineari supporti e disposte in cerchio con la nota dell’artista che dice: “Studio per un probabile equilibrio in movimento”. Poi un’opera del 1977 dove due donne legate tra loro fanno suonare una nota su una pianola ancorata al fianco di una delle due donne (Liliana Moro stessa). Bisogna ammettere che l’operazione appare piuttosto cervellotica e che i risultati non sembrano essere efficaci come la macchinazione messa in atto. (continua)

[goldlightsaber]

I just heard a single car horn and it sounded like the Succession soundtrack to me. Sickness

[rebornrosess]

yes i am excited for season 4 of succession but i am equally as excited for nicholas britell’s SCORE for season 4 of succession

[aurora-daily]

AURORA hosting Tearjerker on BBC Sounds!

On the first episode called "The First Tear" she "shares a playlist of nostalgic songs from her younger years that have provided solace and comfort, from the first songs she cried to, to the music she still uses for support today. Featuring pieces from Chopin, The Chemical Brothers and Nick Drake." [link 1]

Tracklist of the episode 1:

Prélude in D Flat Major (Raindrop), Op. 28, No. 15 by Frédéric Chopin

The Brothel by Susanne Sundfør

Sofia (feat. AURORA & iris) by Askjell

Hanna's Theme by The Chemical Brothers

The World Spins by Julee Cruise

Adoration by Florence Price

Anthem for No State, Pt. I by Godspeed You! Black Emperor

This Woman's Work by Kate Bush

Lump Sum by Bon Iver

That Home by The Cinematic Orchestra

Après un rêve, Op. 7, No. 1 (Arr. for Cello and Piano) by Gabriel Fauré

Tchaikovsky: The Nutcracker, Op. 71, Act II: No. 14c, Pas de deux. Variation II Dance of the Sugar Plum Fairy

Landslide by Fleetwood Mac

Three Hours by Nick Drake

Suzanne by Leonard Cohen

The second episode called "Songs for the lonely" AURORA curates "a playlist to make you feel less alone. Featuring music from Erik Satie, Radiohead and Anna Clyne. Plus Aurora has a listener submission for the "Song That Saves Me"", as "It’s hard to be a human today. Somehow we can all feel lonely with the weight of the whole world on our shoulders, but music has the power to make us feel less alone." [link 2]

Tracklist of the episode 2:

Where Life and Death May Dwell (Icelandic Folk Song) - Upright Piano by Snorri Sigfús Birgisson

Gnossienne No.1: Lent by Erik Satie

Lover, Where Do You Live? by Highasakite

To Speak Of Solitude by Brambles

Hymn for Khadija by Anna Yarbrough

Exit Music (For A Film) by Radiohead

The Armed Man - A Mass For Peace: XII. Benedictus by Karl Jenkins

Fólk fær andlit by Hildur Guðnadóttir

Spiegel im spiegel by Arvo Pärt

It's Hard to Be Human (feat. Marissa Nadler) by Lawrence Rothman

Streymir (Voiceless) by Gabríel Ólafs

Tell Me About It by Thea Wang

Hoppípolla by Sigur Rós

The third episode "Beautiful sounds for human connection" celebrates the power of music that connects and brings us together: "Humans have always sung. Music is a natural part of us, and it has always been. Since the first sorrows, we sang to release the pain. And from the first births, we sang to celebrate. Music connects us. And when we sing together, and experience music together, we truly reconnect to a part of ourselves we were dangerously close to forgetting. In this week's episode of Tearjerker, Aurora celebrates the music that brings us together with pieces from The Staves, Clara Schumann and Astrid Sonne. Plus, Aurora has a listener submission for the 'Song That Saves Me'." [link 3]

Tracklist of the episode 3:

Journey to the End of the Night by Lisa Morgenstern

Down To The River To Pray by Alison Krauss

Love Is Colder Than Death by Questo Mostrarsi

momentary - choir version by Ólafur Arnalds & VOCES8

Whitacre: Lux Aurumque by Eric Whitacre

No Me, No You, No More by The Staves

happiness by Taylor Swift

cellophane by FKA twigs

Boadicea by Enya

Kiuá by Andréa Daltro

Io by Miyako Koda

Hide and Seek by Imogen Heap

Soirées musicales, Op. 6: II. Notturno. Andante con moto (Version for Harp) by Clara Schumann

Strong, Calm, Slow by Astrid Sonne

[lesser-known-composers]

Arnold Mendelssohn (1855-1933) - String Quartet No. 3 in B-Flat Major, Op. 83: II. Andante con moto ·

Reinhold Quartett

[thegianpieromennitipolis]

SENSI DELL'ARTE - di Gianpiero Menniti

L'ILLUSIONE DELL'ONFALO

Lo stile è davvero uno dei segni tangibili dell'arte, di ogni espressione, sia essa un testo pittorico o plastico, un'architettura oppure un'opera di scrittura.

In un luogo, qualcosa accade.

Si staglia, s'imprime nello sguardo e suscita un irrefrenabile moto d'animo.

È il primo passo.

Prima lentamente e poi con impeto, i luoghi si moltiplicano: non per mera imitazione ma per slancio creativo.

Così, quando nel 1874, a Parigi, nello studio del fotografo Nadar sul Boulevard des Capucines si tenne la prima mostra "Impressionista", il fuoco di quello stile già diffondeva i suoi lapilli nell'emisfero sud del globo, in Australia, a Melbourne.

Lì si formò la scuola detta di "Heidelberg" - dal nome di una località a est, nella periferia rurale della città - e sempre a Melbourne si tenne, nel 1889, la prima mostra passata alla storia con questo titolo: "9 by 5 Impression Exhibition".

Tra i 183 dipinti, almeno 40 erano di Arthur Streeton, non meno di 46 di Charles Conder, assieme ai contributi minori di Frederick McCubbin e Charles Douglas Richardson.

Ma la parte più cospicua spettò, con 63 opere, a Tom Roberts (1856 - 1931) artista di origine britannica.

E britannica sembra essere l'influenza "impressionista" - Turner, Whistler - che colse la vena figurativa di quella che venne annoverata come la prima scuola artistica veracemente australiana.

Ma il ceppo originario s'era già formato nella seconda metà degli anni '80, il "Box Hill artists' camp", con il gruppo di artisti "en plein air" che in seguito costituirono l'ossatura della "Heidelberg School".

Certamente, Roberts fu il più intenso nel lasciarsi cogliere dallo slancio di misurarsi con la cattura dell'istante nella naturalezza del primo impatto.

E se è vero che le sue tele echeggiano Whistler pur concedendosi inizialmente all'impronta vaga di Constable, le stesse mostrano un notevole coraggio nell'esplorare i fondamenti della visione sensibile, della costruzione im-mediata dell'immagine pittorica.

Così, le tracce irrequiete dell'arte migrarono lasciando l'Europa, annebbiata dalla "Belle Époque", nella tragica illusione di essere l'omphalòs (ὀμφαλός), l'ombelico del mondo.

- "Going home", 1889, National Gallery of Australia; "Treno serale per Hawthorn", 1889, Art Gallery of New South Wales; "Andante", 1889, Art Gallery of South Australia.

[gasparodasalo]

Giuseppe Sarti (1729-1802) - Sonata for Flute and Harpsichord in e-minor, I. Andante con moto. Performed by Nicolai Nasonov, flute, and Irina Schneyerova, harpsichord, on period instruments.

[myargalargan]

A Classical Polinalysis: Ep. 2

Hello friends, Polin stans, and classical music nerds!

Picking up from my episode 1 analysis, I am back with the second installment in the series of episode-by-episode analyses I mentioned when I shared the playlist I made of all the Classical pieces used in Bridgerton season 3.

The tracks on the playlist are all in order of when they appear in the show, and here are all the pieces that were used in episode 2: 

Beethoven’s String Quartet No. 13 in B-Flat Major, Op. 130: VI. Finale. Allegro

Bach’s Violin Concerto No. 2 in E Major, BWV 1042: III. Allegro assai

Mozart’s String Quartet No. 8 in F Major, "Viennese", No. 1, K. 168: IV. Allegro

Mozart’s String Quartet No. 3 in G Major, "Milanese", No. 2, K. 156/134b: I. Presto

Mozart’s String Quartet No. 23 in F Major, "Prussian", No. 3, K. 590: IV. Allegro

Joseph Schuster’s String Quartet No. 2 in B-flat Major: I. Allegro di molto (formerly attributed to Mozart as the "Milanese" (or Paduan) String Quartet No. 2, K. 210)

Beethoven’s Piano Sonata No. 23 in F Minor, Op. 57, “Appassionata”: II. Andante con moto 

All of this music is used over the course of the Full Moon ball, and the choice of music and the scenes each piece of music is paired with turns the ball something of a microcosm for the entire episode. What the hell do I mean by that? 

This episode is all about flirtation, fertility, and passion, and the action in this episode sets into motion some of the major conflicts of the season. We have the Mondriches settling into their new home and attending society events for the first time, the Featherington sisters getting a healthy dose of Sex Ed, Francesca being granted the Queen’s favor, and—of course—Colin and Penelope beginning their lessons and all the tension and drama that brings. So let’s get into how the Classical soundtrack compliments this very meaty episode…

Looking at the track list in order, we’ve got a bit of a composer sandwich (get it? meaty episode? ha-ha-ha?) with Beethoven bread, Mozart filling, and Bach and Schuster toppings. The allegro finale of Beethoven’s String Quartet No. 13, which starts as Colin and Eloise’s conversation about Penelope in the carriage ends, welcomes us to the ball. The second movement of Beethoven’s “Appassionata,” which Francesca is playing when Lady Danbury sneakily invites the Queen to observe, concludes the whole event. But I have a lot to say about both Beethoven pieces, so I’m going to save that for later! To start, I want to talk about the flirtatiousness of the other pieces used during this episode. 😏

The next piece after the Beethoven string quartet is the third movement from Bach’s Violin Concerto No. 2, which plays when Benedict asks Miss Stowell to dance. We only hear the very beginning of the concerto in this episode, but the distinguishing characteristic of a concerto—which is also what I find so flirtatious about this piece—is the back-and-forth between a solo instrument (in this case, a solo violin) and an ensemble (in this case, a chamber orchestra). In particular with shorter pieces like this Bach concerto, which is an energetic two minutes long with concise musical verses, you get the feeling of a lively conversation, where the ensemble has their say, the soloist replies, the ensemble adds another musing, then the soloist replies, and so on. 

I also think this concerto is fun for this scene for a couple other reasons. One, the soloist-ensemble dynamic calls to mind Benedict getting cornered by a pack of ladies. But also, this concerto is in what’s called “ritornello” form, which means that the ensemble repeats the same musical theme every time they come back in, and I love this as a funny little musical illustration of Miss Stowell’s persistence with Benedict—she keeps coming back, over and over, just like that repetitive musical theme! 

The next piece is the fourth movement from Mozart’s String Quartet No. 8, which starts playing right as Portia tells Mr. Finch that his wife is a pastry and continues as Penelope talks with Colin about his writing. This piece actually elides seamlessly into the track from the season 3 OST called “Attempts to Flirt” the moment Colin says he’ll consider letting Pen read more of his writing if she talks to at least one lord that night, which is a fun little tie-in to our theme. And the string quartet is great for this moment between Colin and Pen because of its fugal quality. A fugue—such as Bach’s famous Toccata and Fugue in D Minor, which is used in a ton of films including the original Fantasia—refers to a structure where the musical theme is introduced in different voices or instruments one after another. (Kind of similar to a musical round, like “Row, Row, Row Your Boat,” but not as simplistic.) Like the concerto, there’s a repetition of musical ideas, and those ideas bounce around from instrument to instrument, again creating a sense of lively conversation. Almost as if one person starts to tell a story to a group of friends, and then another person jumps in to say, “Oh, yes, I know what that’s like!” and tells their own anecdote, and so on around the group as the conversation feeds on everyone’s enthusiasm. 

I love this for Pen and Colin’s interaction because it has a similarly flirtatious energy as the concerto, but at the same time it’s more complex than a simple back-and-forth. There’s a layering aspect to a fugue—when a subsequent instrument picks up the theme, that doesn’t mean the first instrument stops playing. I think this has a similar energy to the way good friends who are comfortable and excited together might end up talking over one another or picking up the ends of each other’s sentences. I think it’s also illustrative of the complexity of Colin and Penelope’s relationship, especially at this phase. They’re friends, yes, but other feelings are starting to get all mixed in. They flirt quite easily with each other, but that makes things more complicated. A playful but multi-layered fugue illustrates this pretty well, I think.

Then we have our second Mozart string quartet of the episode, the first movement of Mozart’s String Quartet No. 3, when Eloise inadvertently lets it slip to Cressida that Colin is helping Penelope find a husband. This piece isn’t a concerto or a fugue, but it does still have an interplay between the instruments that, to me, creates a similar effect. There are several moments within this movement where the violin will start the musical line and one of the other instruments will finish it, like passing a baton. Or, again, like lively and comfortable conversation! To me, it feels a little bit like two people winking at one another as they catch each other’s meaning. 

There’s also a fun little bit about two-thirds of the way through the piece where, for not even 30 seconds, the tone of the music changes entirely, to something darker and more dramatic. Musically this part is known as the “development,” which is where the music meanders and does a bunch of interesting things before it returns to the main theme that was introduced in the beginning. This is a very common musical technique, but it doesn’t appear quite so starkly in any of the other pieces used in ep. 2. Since this piece plays during an Eloise and Cressida scene, we could take this darker interlude to be a reflection of Eloise’s relationship with Penelope—how it has taken a dramatic turn but will be righted again before long. We can also look at it through a Polin lens, since Penelope and Colin’s relationship takes a similar trajectory. Either way, I like the idea that there’s a bit of dark foreshadowing in this otherwise playful, flirtatious piece of music.

From there, we have the fourth movement of Mozart’s String Quartet No. 23, which plays as the Mondriches enter the scene. Other than the Beethoven pieces, this is the longest piece used during this episode, and it gets the most airtime. It plays for the entire duration of Benedict’s spiel about how married couples are free from the rules of society because they have already fulfilled their duty. And I love this piece for this moment because it really goes places. This movement has some fugal passages, giving it that same flirtatious quality as the other pieces used this episode, but there’s also moments where the tone gets much more dramatic, moments when the tempo seems to slow or get interrupted, syncopated sections that almost feel cartoonish… The character of the piece is surprising, and it evolves over time, and—I think—it reflects the journey the Mondriches have been on since season 1 and the surprising evolution their life has taken in season 3. And will continue to take! As they figure out how to navigate this new world and learn that it’s not as simple as Benedict made it seem.

Okay, now onto the last bit of sandwich filling, the first movement of Joseph Schuster’s String Quartet No. 2 in B-flat Major, which plays while Lady Danbury leads the Queen away from the main ball and while Eloise’s group of debutantes lament their chance to show off. Is this piece also flirtatious? Yes, I think this piece has a similar quality to Mozart’s String Quartet No. 3, where sometimes musical lines started by one instrument get picked up and finished by another. But another thing I find really interesting about this piece is that it’s a case of mistaken identity. This piece was composed around 1780, but until the 1960s music scholars attributed the piece to Mozart. And to use this piece during this scene is particularly compelling, because it’s the moment that Cressida denies having any good gossip, but also the moment when the gossip about Penelope and Colin begins to spread throughout the ball anyway, which Eloise (and Colin) mistakenly blames Cressida for. There’s also maybe a deeper meta here about mistaken identities that could tie into Cressida’s false claims to the Lady Whistledown name, which is interesting to consider in contrast to this moment at the ball where Cressida—unlike later in the season—chooses to be the bigger person and renounces the lure of gossip in favor of protecting her new friendship with Eloise. 

Which brings us to the final piece of music featured at this ball, the second movement from Beethoven’s Piano Sonata No. 23, the “Appassionata.” Which is of course relevant because Francesca earlier admits to loving it so much during her abbreviated conversation with Lord Petri. Petri describes Francesca’s favorite pieces as “expressive music,” which is fitting for a musical work nicknamed “Passionate.” Francesca also says, “I mostly enjoy the chord progressions,” in response to Petri getting all “can’t you feel it in the music?” and although Petri was talking about the Ries Piano Trios, I like thinking about Francesca’s response in relation to the second movement of the “Appassionata” because that movement is one big theme-and-variation—there’s a musical theme introduced at the beginning, and then that theme is repeated two more times with variations in the melodic structure but always with the same chord progressions.

One thing I love about this piece as the close-out to the ball is the way, with each subsequent variation on the theme, the music builds and builds. It starts out slow and in a low register, and it gets faster and higher pitched as it goes (the part we hear Francesca playing is the fast high part). There’s a really obvious analogy to sex here, which is clear in Petri’s reaction and Francesca’s discomfort with his reaction—which is appropriate because sex is such a major motif in this episode (“Inserts himself? Inserts himself where?”). But there’s also the analogy to the build-up that we’re about to experience at the end of the episode, the way everything Penelope has been through the past couple episodes (couple seasons, really) culminates in that first unbelievably passionate kiss between her and Colin. 

But, more than that! The second movement of the “Appassionata” doesn’t have a true ending—it’s through-composed with the third movement, so that the two are meant to be listened to back-to-back. If you listen to the end of the second movement by itself, you’ll hear a chord that sounds like it’s supposed to resolve to a nice clear ending, but then instead of resolving, that chord is followed by an intriguing, dissonant, kinda jazzy-sounding musical lick. If you didn’t proceed to the third movement right away, musically, you’d be left hanging. (And even once you’re into the third movement, it takes a while for the music to properly resolve.) And I love this! Why do I love this? A while back, I did an analysis of Polin’s theme (from the original score) and wrote a bunch of stuff about how their musical theme, the way we hear it in part 1 of the season, feels unresolved, suspending us in the tension of their uncertain relationship status. We only get proper musical resolution in their theme in part 2, after they’re engaged. So using the second movement from the “Appassionata,” with its false ending, at the conclusion of the Full Moon ball—a ball which encapsulates so much of what’s going on in the episode overall—is such a great way to foreshadow the end of the episode: the build-build-build to the passionate kiss and then—! Leave us hanging as Penelope runs away and Colin’s life starts falling apart around him.  

Speaking of endings…! It’s time to circle back around to the first piece of bread in our Beethoven sandwich, the sixth movement from Beethoven’s String Quartet No. 13…

If you’ve stuck with me this far, hang in there for just bit longer! Maybe take a quick break and grab a snack. ;) 

I thought a lot about the usage of the allegro finale from Beethoven’s Op. 130 in this episode. It’s such an interesting choice, not necessarily because of the music itself, but because of the history of the entire quartet. See, when Beethoven first composed String Quartet No. 13, it had a different final movement. However, at the first performance, that movement received such a negative reaction that Beethoven’s publisher convinced him to write a replacement. The replacement is what’s used in the show. And it has an entirely different character from the original. The new finale is light and cheery, while the original was dense and complicated. The original was panned by critics as being incomprehensible, inaccessible, and difficult to both listen to and play. (Give it a listen. You may find that it makes you deeply uncomfortable 😅 but it’s definitely an experience!) The new finale, on the other hand, is…a dance! It’s bouncy and positively Haydnesque, and completely uncontroversial.

The original was ultimately published as its own work under the title “Grosse Fugue,” as Beethoven’s Op. 133. However, some Beethoven enthusiasts and music scholars will argue that the correct way to play String Quartet No. 13 is with the original ending, the way Beethoven intended. Preferences vary, though, and what this means is…there are two possible, perfectly valid, endings to this piece of music. And each ending has a completely different vibe. 

Do you see where I’m going with this? 😉

This piece plays as we are welcomed into the Full Moon ball, and when I set out to do this analysis, I was originally looking at the allegro finale on its own, trying to find something meaningful in its structure or its harmonies… But I think what’s most interesting about it, in the context of this episode, is that it represents the duality of choice. And there’s a few different layers this could apply to: Eloise and Cressida’s decision whether or not to share the gossip about Colin helping Penelope, Colin’s choice to help Penelope in the first place (and to continue to help her after the journal faux pas)...his choice—at the end of the episode—to kiss her. The Queen's choice of a diamond, even! But if we’re talking about possible endings, then this piece is really setting us up for the ultimate narrative choice between Colin and Lord Debling. And it’s fitting as an introduction to the Full Moon ball because it’s at this ball that Colin gets his first taste of jealousy and competition, and then of course it’s Penelope’s humiliation at this ball that is the catalyst for the kiss that sends Colin into his downward spiral of desperate, all-consuming love. So whereas at the end of ep. 1 Colin may have been able to go about his life acting as though he was unconcerned about whatever feelings he may or may not have had for Penelope at that point, by the end of ep. 2 that’s simply not at all possible anymore. And so the show starts building the foundations of one of Penelope’s possible choices, one of her potential endings. (And I guess whether or not you consider Debling to be a perfectly valid alternative ending depends on what kind of Polin shipper you are. 😉) 

So there you have it: the drama of choice, the sexiness and frustration of building yet unresolved tension, misunderstandings (and, you might even say, the probable pains of friendship), SO much flirting—some easy and straightforward, some ceaseless and unvarying, some deliciously complex… All present at the ball, throughout the episode, and in the Classical soundtrack.

♥

And here's some of the research I did for this post:

Beethoven's String Quartet No. 13: https://www.earsense.org/chamber-music/Ludwig-van-Beethoven-String-Quartet-No-13-in-B-flat-major-Op-130/

Beethoven's String Quartet No. 13: https://www.brentanoquartet.com/notes/beethoven-quartet-opus-130/

Beethoven's String Quartet No. 13: https://www.maramarietta.com/the-arts/music/classical/beethoven/

Bach's Violin Concerto No. 2: https://www.laphil.com/musicdb/pieces/4549/violin-concerto-in-e-major-bwv-1042

Mozart's String Quartet No. 8: https://fugueforthought.de/2018/07/01/mozart-string-quartet-no-8-in-f-k-168/

Mozart's String Quartet No. 3: https://fugueforthought.de/2016/08/27/w-a-mozart-string-quartet-no-3-in-g-k-156/

Mozart's String Quartet No. 23: https://www.talkclassical.com/threads/mozart-string-quartet-23-k590-sq-review.81909/

Schuster's String Quartet No. 2: https://www.earsense.org/chamber-music/Joseph-Schuster-String-Quartet-in-B-flat-major-No-2-KAnh-C2001-K-Anh-210/

Beethoven's "Appassionata": https://www.youtube.com/watch?v=tR706pYvNl0&

[haveyoulistenedtothisalbum-poll]

Tracklist:

Succession (Main Title Theme) (Extended Intro Version) • Rondo In F Minor For Piano And Orchestra - "Kendall's Journey" • Moderato Con Brio For Violin, Harp, And Orchestra • Intermezzo In C Minor - "Money Wins" • Rondo In F Minor For Solo Piano - "Kendall's Summit" • Atmosphere In B Minor • Contredanse - "Shiv's Move" • Cello Quintet In C Minor - "Tern Haven" • Andante Con Moto - Piano And Strings - "Vaulter" • Rondo In F Minor For String Orchestra • Concerto Grosso In C Minor - Ripieno Strings • Andante Con Moto - String Orchestra Variation • Roman's Beat - "Hearts" • Andante In C Minor - Main Theme Strings Variation • Maestoso - Piano Solo • Larghetto - Piano, Celesta, Strings - "Kendall's Return" • Intermezzo In C Minor - Piano And Double Bass • Moderato Con Brio - Violin Sextet • Boar On The Floor • Kendall's Departure - "This Is Not For Tears" • Maestoso - String Orchestra - "To The Press Conference" • Concerto Grosso In C Minor + End Credits - "You Have To Be A Killer" • L To The OG

Spotify ♪ YouTube

[amorphousgenderlesscryptid]

doing the playlist shuffle poll game from @ereiniel's open tag!

Put your music library on shuffle, then list the first five songs that come up in a poll to let people vote for which one they like the most!

Tagging anyone who wants to do it!

[16strings]

77th Concours de Genève - Hana Quartett, 2nd Prize ex aequo 2023

77th CONCOURS DE GENÈVE - INTERNATIONAL MUSIC COMPETITION STRING QUARTET 2023 FINAL ROUND Sunday 29 October, 2:00 PM, Victoria Hall, Geneva 

QUARTETT HANA, 2nd Prize ex aequo Fuga Miwatashi, Violin 1 & 2 Gyurim Kwak, Violin 1 & 2 Emiko Yuasa, Viola Johannes Välja, Cello 

F. MENDELSSOHN-BARTHOLDY (1809-1847) String Quartet N° 3 in D Major Op. 44/1 - Molto allegro vivace - Menuetto : un poco allegretto - Andante espressivo ma con moto - Presto con brio

[chez-mimich]

LILIANA MORO, ANDANTE CON MOTO (parte II)

(segue) Anche “La passeggiata” del 1988 sembra un’opera molto macchinosa: una distesa di pattini a rotelle che, sprovvisti di legacci, divengono di fatto inutilizzabili. La controsignificanza dell’opera però, oltre a non essere una novità, risulta anche un po’ stantia. Posizionata nel centro di Novi Ligure, durante la notte veniva modificata da nottambuli passanti, ma resta sempre un po’ pochino per costruirci intorno profonde teorie. Molto più interessante la serie di copertine della rivista “Internazionale” (un anno di numeri dal 2008 al 2009) accostate sistematicamente all’oroscopo dell’artista (capricorno) pubblicate dalla rivista stessa. Una riflessione sulla arbitrarietà, ma anche una riflessione sulla aleatorietà del caso in rapporto a grandi eventi mondiali. Un pavimento coperto da vetri rotti, che sotto i passi del visitatori si sbriciolano ulteriormente, modificano l’aspetto sia visivo che sonoro dell’ambiente. Probabilmente durante il suo primo allestimento presso la galleria Emi Fontana di Milano, l’installazione ebbe molta più risonanza ed anche un maggior significato; oggi sembra invecchiata male e quindi diventata banale. Altrettanto non indimenticabile o quanto meno, molto datata, mi sembra essere “Spazio libero” del 1989, installazione site specific per Soncino alle porte di Cremona. Si tratta di una grande scritta di colore giallo fissata ad un supporto d’acciaio. Sullo stesso filone di una iconicità un po’ forzata e ricercata, ecco “Avvinghiatissimi”, un letto in legno a cui sono fissati, tramite cinghie rosse, dei grandi fogli di “gomma-schiuma” e due casse acustiche che propongono “Regreso de amor”, un tango argentino di Astor Piazzolla. Messaggio semplice e diretto quello di “In onda”, ambiente buio illuminato dalla sagoma al neon di un pesce azzurro. Ancora una volta siamo invitati all’ascolto dei fondali marini della riserva del WWF di Miramare a Trieste dove sono stati registrati i suoni del fondale stesso. Anche in questo caso siamo in presenza di una ricerca sociologica e psicologica più che ad un gesto artistico. “Spazi” è invece una installazione del 2019 per la Biennale di Venezia; si tratta di una serie di piccoli modelli di ambienti espositivi, realizzati con materiali delicati e comuni, come carta, cellophane, cartoncino, balsa che mostrano volutamente le loro imperfezioni. L’intento è quello di proporre modellini che ricreino un luogo espositivo, rimodulando sempre lo stesso spazio e la sua coniugazione con diversi materiali. Naturalmente sono poi stati concretamente realizzati. Tornando alle installazioni visive, nel grande soppalco del PAC sono esposte le magnifiche immagini di “Voci”, grandi immagini tratte dalla stampa e che riproducono persone intente a parlare al megafono facendosi così portatori di voce di un gruppo o di una comunità che, al di là del messaggio trasmesso, hanno in comune questo tentativo di trasformare le singole voci, nelle voci di un gruppo, in contesti quali la strada, le piazze delle manifestazioni di massa. Dall’installazione è stato tratto anche un prezioso volume con il medesimo titolo. Sempre al piano superiore ecco l’installazione che dà il titolo all’intera mostra, ovvero “Andante con moto” (2023). “L’ultimo nastro di Kapp” è un’opera teatrale di Samuel Beckett e proprio da quest’opera sono tratti i testi che escono, unitamente a rumori e suoni, dalle casse acustiche posizionate al centro della sala unitamente ad una buccia di banana e alla gigantesca riproduzione in cemento di una banana (frutto presente nel dramma teatrale di Beckett), omaggio al grande drammaturgo attraverso una scena scarna come scarni sono i suoi testi, ma molto suggestiva e direi anche emozionante. Una mostra con forti chiaro-scuri con opere che forse non trasmettono più quel magnetismo che potevano avere in altri anni e in altri decenni e tematiche che sembrano ormai scomparse dai radar del pubblico anche più smaliziato.

[symphonybracket]

YouTube Links: Pejačević 1, Beethoven 9

Submitter's comments:

Pejačević 1 (1 submittal)

More women! Criminally underrated composer too. Great scherzo.

Beethoven 9 (1 submittal)

It's a groundbreaking symphony for its time, both for its large scale and its inclusion of a chorus in the final movement. It's known across the world as a celebration of joy and togetherness. And not to mention, the beautiful music in each and every one of its four movements.

[beyourselfchulanmaria]

Performers

(1) Capriccio Quintet (2) Saint Petersburg Orchestra of the State Hermitage Museum Camerata (3) Dmitry Yefimov (4) Ilya Ioff (5) Jurgis Karnavichius (6) Tbilisi Symphony Orchestra (7) Konzerthaus Kammerorchester Berlin (8) Vladimir Shakin (9) Elisso Bolkvadze (10) Alexei Massarsky (11) Georgian State String Quartet

𝐏𝐋𝐀𝐘𝐋𝐈𝐒𝐓

00:00:00 Schwanengesang, D. 957 Part: No. 4, Ständchen (1) 00:03:58 Rosamunde, D. 797 Part: No. 2, Intermezzo No. 2. Andantino (2)

00:11:19 Ave Maria, D. 839 (3)

00:18:12 Piano Quintet in A major, D. 667 Part: II. Andante (4) 00:25:55 Sonate in C Minor, D. 958 Part: IV. Allegro (5)

00:35:05 Symphony No. 8, D. 759 Part: II. Andante con moto (6) 00:49:29 Symphony No. 9, D. 944 Part: II. Andante con moto (6) 01:04:14 Rosamunde, D. 797 Part: No. 4, Ballet Music No. 1. Andante un poco assai (2)

01:17:22 String Quartet No. 14, D. 810 Part: II. Andante con moto (7)

01:21:20 Sonate in C Minor, D. 958 Part: II. Adagio (5)

01:30:36 4 Impromptus, Op. 90, D. 899 Part: 3. Impromptu in G-Flat Major (8)

01:36:36 Symphony No. 8, D. 759 Part: I. Allegro moderato (6) 01:48:05 4 Impromptus, Op. 90, D. 899 Part: 4. Impromptu in A-Flat Major (8)

01:55:34 4 Impromptus, Op. 90, D. 899 Part: 4. Impromptu in A-Flat Major

01:57:17 Moments Musicaux, D. 780 Part: No. 3, Allegro Moderato in F Minor (9)

02:04:38 Rosamunde, D. 797 Part: No. 2, Ballet Music No. 2. Andantino (2)

02:11:43 4 Impromptus, Op. 90, D. 899 Part: 2. Impromptu in E-Flat Major (8)

02:16:07 4 Impromptus, Op. 90, D. 899 Part: 1. Impromptu in C Minor (8)

02:25:46 String Quartet No. 12, D. 703 Part: 1. Allegro Assai (11) 02:34:34 Rosamunde, D. 797 Part: I. Overture (6)

02:44:35 Sonate in C Minor, D. 958 Part: III. Menuetto (5)

[classical-music-suites-bracket]

American Suite (Antonín Dvořák):

1 Submissions

No propaganda

Cello Suite in G Major (Johann Sebastian Bach):

1 Submission

No propaganda

[lesser-known-composers]

Louis Théodore Gouvy (1819-1898) - Symphony No. 1 in E-Flat Major, Op. 9: III. Andante. Con moto

Orchestra: Deutsche Radio Philharmonie Saarbrücken Kaiserslautern

Conductor: Jacques Mercier