#the schubert ensemble

[onenakedfarmer]

Playing

Franz Schubert OCTET IN F MAJOR FOR STRINGS, CLARINET, BASSOON, AND HORN, D 803

Melos Ensemble

[screaminatrain]

Oh my gods this is the song stuck in my head in the past weeks after hearing in a loop during music class. This. Is. Fucking. Awesome. And I rarely even listen to instrumental music. <3

[thearbourist]

The DWR Friday Classical Interlude - Schubert Ensemble: Schubert "Trout" Quintet, 4th Movement

[posttexasstressdisorder]

Tuesday, 11-12-24, 8am Pacific

Aaaand another blurgh-ish groggy mornin' y'all...Mr. Baggins here with some Morning Coffee Music to get you in gear and in good cheer. I thought we could start this off with another couple of Rossini's String Sonatas, from the same set by Neville Marriner and the ASMF. Here are String Sonatas numbers two and five.

Here is Brazilian pianist Guiomar Novaes once again, this time she'll be playing the music of Claude Debussy (whom she met and played for as a young child), his Preludes, Book One.

Moving back in the Timeline to the early 1800s and the music of Franz Schubert, his "Der Hirt Auf Dem Felsen" (The Shepherd On The Rock), song for soprano and piano, with a Clarinet obligato. This is the actual recording that made me (finally) fall in love with vocal classical music, something I'd staunchly avoided for decades. Here is the very fresh-voiced Elly Ameling in her debut recording from 1965, with pianist Jorg Demus and clarinetist Hans Deinzer.

Man, that Schubert cat could write a tune, couldn't he? Let's listen to a couple of his Symphonies. Here is his Symphony No. 5, played by the legendary Arturo Toscanini and the NBC Symphony Orchestra, from the 1940s.

Here is Neville Marriner and the ASMF with Schubert's Symphony No. 6 (the "little" C Major), another Philips recording from the early '80s. The then not-yet-knighted Sir Neville and the Academy were riding high at that point, due to their surprise fame brought by being the conductor and orchestra chosen for the movie Amadeus.

I do believe it is past time for our daily dose of Glenn Gould playing Bach, this time the magnificant Concerto in d minor, Cto. No. 1, with Leonard Bernstein conducting the Columbia Symphony Orchestra.

I thought we'd follow up with a disc of chamber music pieces by Sir Malcolm Arnold, played by The Nash Ensemble. Music seldom heard, but definitely worthy of hearing!

And now, here's another disc I want to play in its entirety: Arturo Toscanini and the NBC Symphony playing Dvorak's Symphony No. 9, From The New World, followed by the music of Kodaly, his Hary Janos Suite, and finishing up with what has to be my very favorite performance of Smetana's "The Moldau" from "Ma Vlast". Recorded live in concert at Carnegie Hall, in 1953.

And the final selection for this morning's Coffee Music, here is legendary violinist Fritz Kreisler in an hour's worth of his incredible artistry. He was truly one of the greatest violinists of the 20th century. His recordings with Sergei Rachmaninoff are must-listens. I will have to highlight them another time.

I'll be back with y'all this afternoon for another stack of classic 45s.

Until then, be kind, babies, be kind.

Baggins out.

[papaya2000s]

The History of Korean Male Groups – From Yeonhee Professional Singers’ Quartet to BTS -> Pt. 2/? (Rewrite)

Like the experiences of the 60s-80s in Korea (I previously discussed the film Emergency Act 19 (긴급조치 19호) in another post that talks about the censorship.), the Japanese Colonial Rule era saw significant music censorship that impacted Korean culture, especially its musical landscape. Japanese authorities imposed strict measures to suppress Korean national identity and promote Japanese interests, harming both traditional and popular music.

This censorship included regulating song content and performances, banning many Korean songs with nationalistic themes or critiques of the regime, while promoting Japanese music and songs aligned with their cultural goals.

Despite these oppressive measures, some Korean musicians skilfully incorporated traditional elements into their work, preserving their cultural heritage while navigating censorship challenges.

Western Music in Japan

It might seem a bit off in the context of the history of Korean music, but just like today’s K-pop acts, earlier Korean artists drew a lot of inspiration from Western music legends like The Beatles. This influence came about when Western culture started blending into Asia, especially since many Asian countries had been pretty isolated for a long time. If you check out historical Asian dramas or anime, you’ll notice a mix of Western and Asian architectural styles. Plus, if you ever visit or live in places like China, Japan, or Korea, you’ll spot plenty of Western-style buildings that have stood the test of time.

Zhongyang Street from south, Harbin, 1920s (哈尔滨中央大街). Formerly known as Kitayskaya ("Chinese") Street, Zhongyang Street (中央大街) was and still is the busiest street in today's Daoli District. In the distance, Songhua River and the railway bridge. Photo by Moravius on flickr An example of Western architectural style in China, which is still there and looks the same today.

Yonhui College and what it looked like in 1918 which is still used today. This college, which will be discussed later, plays a significant role in the history of Korean music.

In the early 20th century, Japan experienced a notable introduction of Western melodies, particularly during the Meiji era (1868-1912), which was characterized by the country's swift modernization and embrace of Western cultural influences. This period facilitated the creation of numerous songs that incorporated Western musical elements, reflecting a significant shift in Japan's musical landscape.

Prominent Western classical composers such as Ludwig van Beethoven, Wolfgang Amadeus Mozart, Franz Schubert, Edvard Grieg, and Claude Debussy gained popularity in Japan during this time. Their works were disseminated through performances by Western musicians, the efforts of music educators, and the establishment of institutions dedicated to Western music education, thereby enriching Japan's musical repertoire and fostering a deeper appreciation for Western classical music.

How Korean Male Groups evolved over time.

Male groups in Korean music history have undergone significant changes and developments over the years. These groups were typically formed in two distinct ways, with one focusing on vocal harmony and the other placing a strong emphasis on performance.

Prior to the 1970s, the majority of male ensembles (a group of musicians, actors, or dancers who perform together) prioritized harmony in their music. However, a shift occurred in the 1980s, leading to the emergence of groups that placed a greater emphasis on performance and showmanship. This shift was particularly evident in the dance music genre, and these groups can be considered as the precursors to the modern-day 'boy groups' that are prevalent in the industry today.

The evolution of male groups in Korean music history can be traced through various decades, starting from the period before liberation (1910 – 1945), through the 60s, 70s, 80s, and early 90s, and continuing into the mid-90s, 2000s, and up to the 2010s. Each era brought about its own unique changes and developments in the male group landscape, reflecting the evolving tastes and preferences of the audience as well as the broader cultural and societal shifts taking place in Korea. By examining the trajectory of male groups over these different time periods, we can gain a deeper understanding of the factors that have shaped the history of Korean male groups and their significance in the music industry.

Before Liberation - 1900s:

The historical evolution of male musical ensembles in Korea before liberation lacks a definitive "first" group, with both the Yeonhee Professional Orchestra (연희전문사중창단) and the 'Youth Member' (청년회원) frequently cited as early contributors. These ensembles share significant similarities and play crucial roles in the history of male musical groups in Korea, regardless of their status as the inaugural ensemble. The available documentation for the Yeonhee Professional Orchestra is notably more extensive than that for the 'Youth Member,' which is often referenced in academic literature.

The Yeonhee Professional Orchestra is recognized as the first male ensemble in Korea to operate under an official name, predating the 'Youth Member' group. While the 'Youth Member' is thought to have emerged around 1923, there is a lack of substantial evidence, such as photographs or audio recordings, to substantiate its official recognition. Although this group is believed to have performed the <Hakdo Song> (학도가) in 1923, the complexities of its activities during the Japanese colonial period hinder the verification of its existence and influence on the musical scene of that time.

I did a bit more research and think I may have discovered the audio for <Hakdo Song> (학도가), though I could be mistaken. When translating the title from Korean to English, it could result in two different Romanized versions: Hakdog Song (학도가) and Hakdogga (학도가), but they are written the same way in Korean.

This is the video of the supposed song below and also the link to the lyrics to the song i found in the blog - Link

In contrast, the Yeonhee Professional Orchestra boasts more thorough documentation from the 1920s and 1930s. This male ensemble primarily consisted of students from Yeonhee College, which later evolved into Yonsei University.

The formal establishment of the Yeonhee Professional Orchestra as an official entity underscores its importance and acknowledgment within the music industry, distinguishing it from the less substantiated 'Youth Member.' The detailed records associated with the Yeonhee Professional Orchestra facilitate a clearer understanding of its contributions and significance during that historical period.

*Note - Yeonhee College/ University changed names and have had different spellings: Yonhui, Yeonhui, Yonhee and Yonsei.

‘Youth Member’(청년회원)

Given the scarcity of information, I will strive to provide clarity regarding the song they reportedly performed, known as "Hakdo Song" (학도가) from 1923. It is difficult to consider the ‘Youth Member’ specified in the album as a team name. The exact names of the members still can not be confirmed. I will also include links to the sources where I discovered this information, noting that their name has appeared frequently over the years, yet details remain limited.

The initial reference to 'Youth Member' within the historical context of Korean male groups occurs prior to liberation, specifically associated with the 'Yeonhui Professional Quartet.' The connection between these two entities arises from the possibility that 'Youth Member' may represent the earliest formation of a Korean male group. However, the lack of substantial information regarding this particular group limits our understanding, as the available records primarily focus on their musical contributions.

The mention of 'Youth Member' alongside the 'Yeonhui Professional Quartet' highlights a significant yet obscure aspect of Korean musical history. While 'Youth Member' is posited as potentially the first Korean male group, the scarcity of detailed documentation about its activities and influence restricts a comprehensive analysis. Consequently, the historical narrative surrounding these groups remains largely incomplete, with much of the focus directed towards their musical output rather than their broader cultural impact.

Album Photo Parents' Grace Song / Student Song. Official Song (Kwonhakga) Album Front, Collection of Lee Kyung-ho

The phonograph record in question is a Taegeukpyo release by the Nippon Gramophone Company, dating back to approximately 1923, and features three distinct musical pieces: "Parents' Grace Song," (부모의 은덕가) "Hakdoga," (학도가), and "Kwonhakga." (권학가).

This record has sparked discussions regarding the classification of changga (love song) as a form of popular music. Notably, "Hakdoga," the first changga featured on the album, holds significant historical value as it encapsulates the evolution of popular music during the Enlightenment Period, thereby serving as a crucial artifact for understanding the cultural dynamics of that era.

The first song confirmed on a record

Despite the existence of numerous records, the earliest confirmed song on a record is <Hakdoga>, attributed to 'Youth Member,' which is believed to be the first male group in Korea. This song was released by Nippon Gramophone Co., Ltd. (日本コロムビア株式会社) around 1921, catalogued as record number 6217.

The true identity of this album remains unverified. The only known version is a reissue from approximately 1923, which is exceedingly rare, with only one or two copies in existence. The recording features a choir format, and rather than listing a specific artist, it simply credits 'Youth Member.' The initial designation as 'Christian Youth Member' suggests that the performance was by a member of the YMCA rather than a professional vocalist. The introduction of the song invites listeners to "Let's sing a student song," mirroring the format used in Edison Records in the United States.

For some reason, finding the right company proved to be difficult, but I truly hope this is the one, particularly since it was the only option available when the song was released. Information about the company that the song was released by below.

Nippon Columbia Co., Ltd., established on October 1, 1910, in Kawasaki-cho, Kanagawa Prefecture, originally operated as the Japan Gramophone Trading Company, marking the inception of Japan's first online music service. From its founding, it maintained a partnership with the American Columbia Record Company, facilitating the import and export of both music and gramophone technology. The company underwent a transformation through Ichichu Kogyo and was rebranded as Japan Columbia in 1946.

'Student' (학도가) is a Japanese version of 'Railroad Window Song' (철도창가) with only the lyrics changed

The authorship of the lyrics for ‘학도가’ remains uncertain, with some attributing it to Choi Nam-seon (최남선) and others to Kim In-sik (김인식), recognized as the first Western musician. However, these claims lack definitive evidence, and there exists a considerable amount of misinformation regarding the composer. Notably, ‘학도가’ is essentially a reworked version of the Japanese song 'Railroad Window Song' (철도창가), which was released in 1900 during the Meiji era.

The lyrics of ‘학도가’ reflect themes of enlightenment, although there are variations from the contemporary rendition. The version performed by Myeong Guk-hwan (명국환) retains the original lyrics but condenses the content from six verses to four. In contrast, Go Woon-bong's (고운봉) interpretation incorporates Juja’s exhortation to learn (勸學文), derived from ‘Gwonhakga’ (권학가), further illustrating the evolution of the song's message over time.

Kim In-sik/ Kim In Hak (김인식)

Born in Pyongyang in 1885 and passed away in 1963, he is recognized as the inaugural Western music educator in the nation. I'll go more into detail about him in a future post.

Choi Nam-seon (최남선)

Choi Nam-seon was a prominent figure in the Japanese colonial era, recognized for his roles as a writer, journalist, historian, and pro-Japanese anti-nationalist. Born in 1890 and passing away in 1957, he pursued his studies in Japan, subsequently launching magazines and fostering a new cultural movement through his literary contributions. He was instrumental in the creation of a Korean dictionary and authored the "Declaration of Independence" during the March 1st Movement. Additionally, he was involved with the Gyemyeong Club, which focused on the study of Korean culture and history, and he served on the Joseon History Compilation Committee. From 1935 onward, he became increasingly active in pro-Japanese initiatives, promoting Japanese Shinto and supporting student soldiers while advocating the notion that Korea and Japan share a common cultural heritage through his "cultural mobilization theory." I'll go more into detail about him in a future post.

A scholar with an enlightened character

Gwonhakga serves as an enlightenment song that promotes the value of education. Unlike typical phonograph records that feature a single song on each side, this particular album stands out by presenting Gwonhakga alongside Hakdoga on the same side of the record.

The song's lyrics reference Juja's work, (勸學文), emphasizing the fleeting nature of youth and the challenges of learning, with the admonition that "young people are easy to grow old, but learning is difficult, so do not treat time lightly even for a moment." (少年易老學難成一寸光陰不可輕). This serves as a cautionary message to the youth regarding the importance of their studies, and these lines were subsequently echoed in Gounbong's ‘학도가’.

This is the video of the supposed song below and also the link to the lyrics to the song i found in the blog – Link Video - https://youtu.be/RrHfwmd1qU4 The song, which has been sung since the Japanese colonial period, also has the same melody as the ‘Student Song’ below.

What the ‘Student Song’ might mean - The 'Student Song' emphasizes the importance of youth and education, urging students to recognize their role in shaping history. It highlights a young boy's proficiency in mathematics and praises the remarkable Ilchon Gwangumdo. The imagery of jade hidden in lush mountains suggests that potential must be refined to reveal its brilliance, while the fallen tree symbolizes the necessity of sacrifice for growth. The song calls upon diligent students to remember their responsibilities, as the dawn moon sets and the bright Dongcheon Joil illuminates their path. Ultimately, it reiterates the significance of youth in the ongoing narrative of history.

‘Parents' Grace Song’ praising the grace of parents

The song titled "Parents' Grace Song" (부모의 은덕가) was initially released by Nippon Gramophone Co., Ltd. in approximately 1921, catalogued as record number 6216. The original recording has not survived, but historical documentation indicates that the title was originally inscribed in Chinese characters as "父母恩德 (Parents' Grace Song)," distinct from its reprinted version labelled as record number K200.

The lyrics of this song bear resemblance to contemporary songs performed on Parents' Day, emphasizing the virtues of parental kindness and the importance of expressing gratitude. Its emotional resonance remains significant today, and the fact that modern Parents' Day songs reference "Parents' Kindness Song" (부모의 은덕가) suggests that this piece has been preserved through oral tradition for many years.

[chansonsinternationales]

PHILIPPE-GÉRARD (compositeur), “Léo FERRÉ, mon ami” (extraits), L’Humanité-dimanche du 29 janvier 1961 (et Les Copains d’la neuille n°33, p9) : LÉO FERRÉ, mon ami. Oui, depuis plus de quinze ans déjà. Et peut-être qu’aujourd’hui cette amitié grandit encore, comme sans cesse mon estime pour son talent. Aujourd’hui, c’est pour lui le triomphe. Son récital au Vieux-Colombier, c’est un évènement de la saison artistique à Paris… …J’ai rencontré Léo pour la première fois à Paris chez Edith Piaf. C’était peu après la Libération. Il arrivait de Monte-Carlo avec une pointe d’ail dans sa parole et des rayons de soleil méditerranéen cachés derrière son large front. Sa façon de se coiffer et ses lunettes cerclées de métal le faisaient un peu ressembler à un enfant de Beethoven et de Schubert, mais à beaucoup d’autres titres, même physiques, il était déjà Léo Ferré. Bien sûr, nous n’étions pas nombreux à nous en rendre compte, mais nous le savions au fond de nous-mêmes et c’était un peu de réconfort dans les moments difficiles que nous avons alors traversés ensemble. Car nous en avons mangé, à cette époque, de la vache enragée !… …Edith Piaf, à qui nous venions présenter, lui son remarquable “Opéra du ciel” et moi l’une de mes premières chansons sur des paroles de Francis Carco, “Le Voyageur”, ne chanta jamais ni l’une ni l’autre. Bien qu’elle nous accueillit toujours avec beaucoup de sympathie et même de chaleur, il nous fallut attendre quelques années pour qu’elle interprète, de lui, “Les Amants de Paris” qui fut la seule chanson de Léo à son répertoire, et de moi, “Pour moi toute seule”, qui marqua mon départ dans ce métier… http://www.frmusique.ru/texts/f/ferre_leo/operaduciel.htm , L'Opera Du Ciel Léo Ferré : http://www.deezer.com/fr/track/104075228 EDITH PIAF - LES AMANTS DE PARIS Paroles: Léo Ferré, musique: Léo Ferré et Eddie Marnay, enr. 11 juin 1948, que l’on entend aussi dans le film de Jean Eustache LA MAMAN ET LA PUTAIN : https://www.youtube.com/watch?v=0pTr0zizDA8 Edith Piaf - Pour Moi Toute Seule (Guy Lafarge; Philippe-Gérard; Flavien Monod. Blues; “Edith Piaf Sings”; French; …): https://www.youtube.com/watch?v=H4OA1jy-cj8 Renée Lebas , Le Voyageur sans bagage (ou Le Voyageur) - (Auteur : Francis Carco, F.Moslay. Compositeur : Philippe-Gérard ) : http://www.deezer.com/fr/track/138826035 Catherine Sauvage, Le Voyageur (sans bagage) : http://www.deezer.com/fr/track/74805675

[into-september]

Five things I'd never got to experience if I hadn't been in band

English is lacking a good vocabulary for ensembles consisting of adults of varying age playing wind instruments which sometimes involve marching, but it's not like the "wait, you guys do something else than Sousa and Christmas mucic" stereotype isn't a thing over here as well.

My two greatest musical experiences are ones I can't share because one of them was a jazz performance written specifically for the band I was in and performed only once, some nine or ten years ago, in a small, rural pub full of drunk people with no way to appreciate it. The other was some jazz-up version of "In the Hall of the Mountain King" performed in what was allegedly one of the world's best concert halls. In Riga, twenty years ago.

But here are some other pieces I'd never gotten to play if I hadn't done this.

I have a love-hate relationship to marching band marches, finding them one the one hand cool and on the other, exhausting. And - not gonna lie - Sousa is just tired, even for me who've played comparatively little of him.

But Army of the Nile is always a highlight. It's difficult, but it's so fun. The only song where the woodwind embellishments feel like they add something more than showing off the finger work of the flutes and clarinets. Best trio, change my mind, taken just that level higher by the bars seguing the first run to the repetition.

I feel like the only person who love Tolkien primarily for the hobbits, and this is the most hobbit-y piece of music in existence (arguably barring the Prancing Pony number from the musical stage show). Sure, the third clarinet might involve a technically impossible semi-quaver trill between A1 and C#2, but everything about this number is perfection; the way it captures the spirit of hobbits, the perfect shifts between cheer and melancholy, the fact that at 6:14, the score says "ships come. Gandalf comes too", according to the director. Too bad I haven't got the vocabulary to say what it is about the chord shift at 1:40

Never played this one with a cornet solo, and this is the only recording I could find. Which is weird, because I didn't even know this was originally written for a cornet solo until I saw a different performance of it on youtube. But the cornet is clearly the superior instrument for both the clarinet solo in the beginning and the trumpet one in the middle, so please enjoy it, and also the most triumphant french horns coming in with the main theme at the end.

This is, after all, the epitome of wind ensemble music.

Only Scandinavians would understand, but understand at least the joy it brings me every time I get to do the Schubert towards the end. This piece is just pure joy and so much fun

The second and third movements I can give and take, but the first and the fourth? Sign me up, any day. You'd think playing the exact same movement over and over would get old, but it somehow never does.

[rodlaveraryna]

thank you @fritzes and @indian-wells for the tags :)

last 10 songs/pieces i listened to:

just like chet - laufey

riot! - earl sweatshirt

valse sentimentale - p.i. tchaikovsky

symphony no. 4 in f minor - p.i. tchaikovsky, san francisco philharmonic

symphony no. 8 in b minor, "unfinished" - f. schubert, beriln philharmonic

piano quintet in a major - a. dvorak, emerson string quartet, menahem pressler

violin concerto in d major - p.i. tchaikovsky

symphony no. 5 - g. mahler

ricercar a 6 from das musikalische opfer - j.s. bach, leo van doeselaar

the four seasons of buenos aires - a. piazzolla, elissa lee koljonen, curtis chamber ensemble (technically four pieces but it's fine)

[aoi-424]

An Introduction to La Corda

I wrote this article almost 4 years ago - but I thought I might pick it up again to celebrate the 20th anniversary of La Corda series (which was 19th September, 2023 i.e. last year) and the upcoming birthday of Tsukimori Len (24th April).

(Article also available on Medium)

====

I’m a computer scientist, but I have always craved to be a violinist/musician since I was young. Despite the fact that I’m untalented in playing musical instruments, watching anime that features classical music elements, stories that depict characters grappling with their inner struggles to pursue their music dream — they have always instilled me with the passion to practise my pieces too.

La Corda d’Oro (Kiniro no Corda, 金色のコルダ)

In the game La Corda d’Oro 2, all characters are playing as part of an ensemble together.

This was the first show that introduced me to the world of classical music in anime. The 11-year-old me was profoundly attracted by the selection of music in the anime. Pachelbel’s Canon in D, Scott Joplin’s The Entertainer, Schubert’s Ave Maria, Liszt’s Liebestraum�� they are mostly very famous pieces that you’ve heard of but never know the name. And this was definitely a good start.

Hino Kahoko, the protagonist of this show is a high-school girl studying at a music academy but has no knowledge in classical music at all (= the typical “ordinary school girl”). Under some unexpected circumstances, she has been selected to be a participant in the school’s music competition (in the anime this is mentioned as “コンクール”, which means “concour” in French). With the help of a fairy, she is granted a “magic violin” that allows her to play solely relying on her imagination. And the story mainly revolves around her interactions with other competition participants, as well as the self-discovery of her own passion in classical music.

As this is a reverse-harem (adaptation of the original visual novel), it certainly has some romantic clichés that might annoy people (though as a fan of the Shoujo genre I find them perfectly fine), but the overall plot and character development are pretty good and sensible. You’ll get to see characters each having different attitudes towards classical music — some hated music contests since the adjudicators could never judge participants fairly; some are prodigies who have decided on pursuing his soloist dream in Vienna at an early stage; some are talented in music but would choose to proceed on with a non-music career due to family pressure; and some are just purely enjoying the fun of playing a part in an orchestra. You’ll also get to listen to different musical instrument’s famous pieces (Yes, the participants don’t only play the violin/piano), including the trumpet, clarinet, flute and so on. Although the animation style might not be of high quality, since it’s a show from more than 10 years ago (I’m feeling old…), as a classical music fan, I’ll proudly say it’s still very enjoyable.

A screenshot of the game, showing that you could visit different places in the academy to meet the characters (and practise of course).

The original game (my favourite one is “La Corda d’Oro 2 encore” on PSP) is pretty nice too, you’ll be walking around the campus as Kahoko and choose to practise ensemble pieces with different characters. I really love the original soundtracks of the game, as they are all edited versions of classical music pieces, e.g. Beethoven — Symphony №6 (when you’re walking in the academy’s hall), Erik Satie — Gymnopédie №1 (the weekend music).

===

I’ll write more about the game mechanics in La Corda in my next post and explain how the developer has intelligently gamified classical music.

Thanks for reading!

[lesser-known-composers]

George Enescu (1881 – 1955) - Piano Quintet Op.29 -

The Schubert Ensemble : Simon Blendis - violin Alexandra Wood - violin Douglas Paterson - viola Jane Salmon - cello William Howard - piano

Recorded live at the Enescu Festival Bucharest, September 23rd 2017 for Romanian TV.

[asmuchasidliketo]

Tagged by @cantteachanoldguardnewquotes​, thank you! 💕😘

Five songs I can't get enough of

Five songs? Seriously? Only five? You want me to cite only five songs???

● Ensemble (Jean-Jacques Goldman)

● Breakthru (Queen)

*groan of agony*

● Schubert's Impromptu Op.90, D899

What? It's not a song? OK...

● Non più andrai, Nozze di Figaro Act1 (Mozart) (happy now?)

● High Hopes (Pink Floyd)

*muffled sobbing*

● Ne pleure pas Jeannette (traditional)

Five favorite characters at the moment

(in addition to my OCs)

After making the list I realized I can separate them in three categories:

🖊️ I elaborate headcanons for them

● Helmut Zemo

source

● Calvin (Calvin and Hobbes)

● Paul (in the French novel Vous prendrez bien un dessert by Sophie Henrionnet)

♥️ This is one of my favorite fandoms and this character is the one who reminds me the most of myself

● Elvis (in Breaking Cat News by Georgia Dunn)

🧠 This bastard is just stuck in my brain

● Steve McGarrett

[landrysg]

Some gorgeous music to take you over the hump:

Ralph Vaughan Williams (1872-1958), Piano Quintet in C minor (1902)

Beautifully performed and recorded by the Schubert Ensemble

[productions-sarfati]

ALEXANDER ROSLAVETS & ANDREI KOROBEINIKOV | Festival de la Grange de Meslay

Le 9 juin dernier, Alexander Roslavets et Andrei Korobeinikov se produisait ensemble pour la première fois, au Festival de la Grange de Meslay, dans un récital autour de Moussorgski, Tchaïkovski, Dargomyjski, Schubert, Schumann et Rachmaninov, dont les échos sont dithyrambiques ! 

« Nouvel écho dimanche après-midi avec le récital donné par la basse Alexander Roslavets, l'un des plus marquants Boris Godounov de notre époque, accompagné par l'insaisissable ludion Andrei Korobeinikov. Voix ronde de basse noble, mais sans embonpoint, car si le grave est puissant le milieu et le haut de sa voix sont souples et clairs. Et quel investissement dramatique dans les Chants et Danses de la mort de Moussorgski qu'on entend si peu souvent en une époque où le récital de lieder et de mélodies disparaît des festivals à un point inquiétant. Sans mauvais théâtre, mais intériorisés, ils sont aussi saisissants que Der Atlas, immobile, comme terrassé, ou Der Doppelgänger de Schubert dont les deux voix sont caractérisées sans que Roslavets n'en fasse trop dans l'expressionnisme. Dans la scène d'Aleko de Rachmaninov, le tragique ne passe une fois encore que par l'intensité du mot qui se fait musique et de la musique qui se fait mot. Et ce piano qui écoute et porte cette voix avec autant de présence que de finesse... » Source : Bachtrack https://bachtrack.com/fr_FR/critique-trio-wanderer-biss-roslavets-korobeinikov-festival-grange-de-meslay-juin-2024

Pour vous permettre de revivre ce moment, on vous partage un extrait de leur répétition… !

[micro961]

Beta Libre “Winter circle”

L’album d’esordio del nuovo progetto della cantautrice Benedetta Gaggioli

«Un ciclo di canzoni, a tratti oscuro, a tratti infantile, sicuramente invernale. Il titolo è ispirato al famoso ciclo di lieder di Schubert (Winterreise ossia Viaggio d’inverno) ma invece di essere un viaggio, il mio è un ciclo, è qualcosa di circolare e cangiante, che torna come le stagioni, come il ciclo dell’acqua e della morte e della rinascita». Beta Libre “Winter Circle” rappresenta il debutto di Beta Libre, il nuovo progetto cantautorale della cantante lirica Benedetta Gaggioli. Un album dove la voce è assoluta protagonista: a volte sporca, altre più eterea, canta il mondo emozionale dell’artista con tutti i suoi contrasti. Il canto si appoggia e fonde su un tessuto musicale altrettanto ricco, fatto di sonorità elettroniche e oscure ma anche di momenti più morbidi e liturgici. È un lavoro che la stessa Beta Libre definisce «lisergico, oscuro, introspettivo, sperimentale, elettronico».

Album Track by track

“Winter Circle” è scritto interamente da Benedetta Gaggioli. Coprodotto dalla stessa cantautrice con Riccardo Landi e mixato e masterizzato da Andrea Benassai.

Benedetta Gaggioli nasce a Pistoia nel 1988. Diplomata in canto lirico e in musica antica e barocca ha all’attivo numerosi concerti in prestigiosi festival in italia e all’estero, sia come solista che in ensemble polifonici. Dal 2018 collabora assiduamente con il Maggio Musicale Fiorentino, come artista del coro in numerose opere ed eventi e come solista nello Stabat Mater di Pergolesi. Nel 2019 partecipa come solista al Early Music Tuscan Festival e vince l’audizione del Teatro Verdi di Pisa per il ruolo di Proserpina ne “L’empio punito” di Alessandro Melani. Nel 2021 vince il XV Concorso internazionale di Musica Antica Premio Fatima Terzo. Nel 2023 si laurea al Master di II livello in Canto (Repertorio contemporaneo) e al Conservatorio G. Verdi di Ravenna con il massimo dei voti e la lode e vince il primo premio al Concorso Internazionale di Interpretazione di Musica Contemporanea organizzato dalla Fondazione Flavio Vespasiano. Attualmente studia Composizione con Mauro Montalbetti al Conservatorio G. Verdi di Ravenna. Beta Libre è il suo nuovo progetto da cantautrice e compositrice, nato dalla sua passione per la musica elettronica e dalla sua esigenza di esprimersi e creare musica. Nel 2022 incide 14 brani inediti in inglese, scritti e arrangiati da lei, che faranno parte del suo primo album intitolato Winter Circle, uscito a dicembre 2023.

Etichetta: Corbellice Records