Sinbad Legend Of The Seven Seas 2003 BRRIp 720p Dual Audio By Haun
Leana Eckes
To open up proceedings, besides choosing a hard-hitting title I hope will provoke some people to react at all, here are two links to an equal number of not very long performances by good musicians, posted on YouTube. They are among my favorites, and the many ecstatic comments and their two million-plus views each might give some support to that. If you dare go in there, then make sure the Ad Blocker is fully on, so you can enjoy all the beautiful notes, chords and melodies without having to consider toilet cleaning products as well.
If all the composers and performers in the past several hundred years had the same privilege we do (as described above), would there be greats we have never known, or would the greats be essentially the same?
Sinbad Legend Of The Seven Seas 2003 BRRIp 720p Dual Audio By Haun
Download https://tlniurl.com/2yM4pC
With this proviso: that if artists of the last 300 years were all given the same opportunities to make their music known as more recent ones have been having, then more good musicians would be known better. Maybe not many new ones totally unrecognized today, but recognized ones whose works are no longer being played and are known mainly to musicologists. Take for example Anna Maria della Piet, the successor in the job in Venice of Antonio Vivaldi: she was quite famous then, composed plenty of music, people came from all over Europe to hear her play the violin, and today only her name and little more is remembered of this artist.
I love Rubenstein in the Chopin concerti, but in Chopin I prefer Argerich and especially Halina Czerny-Stefanska (both Warsaw competition winners). Nobody inhabits the Polonaises like Czerny-Stefanska.
Here, two examples of the power of this instrument in the hands of perhaps the most gifted of cellists ever to walk this world: more gifted than even Pau Casals, in my opinion, and that is the highest possible praise I can think of for anyone who has played the cello.
And here is the player of this ghostly work by Bruch, a player of whom we only have now also a ghost of the recorded sound, but never to be forgotten by those that love hear music well played, with great depth of feeling and a most delicate nuance at the same time:
When he wrote them, Beethoven was completely deaf, could not hear anything at all. He was also in great despair, not the least because the world he lived in was going backwards politically and the new, great, fraternal society of free and equal citizens promised by the French Revolution clearly was never going to happen. He was also sick, mostly alone, and his own death was not far off. But the music he composed even so, had not only, and understandably, passages full of a deep melancholy, but also passages of transcendental serenity and others evoking a kind of profoundly serene joy. But for all that, they were intensely disliked in his time by many musicians and critics (*), because they were a radical departure from what people expected to be played in a concert of chamber music. It took another fifty years for the then musical innovators, the avant-garde of that day, to realize that they had been scooped by someone long dead, half a century before.
The new one, by (I believe) students or recent graduates of the New England School of Music (or maybe of the NE Conservatory of Music) Shame the notes provided when it was posted in YT say nothing about this group:
So I am now adding this little something by J.S. Bach, played by Arthur Grumiaux, one of the maybe six or seven top violinists of the last hundred years. Also, for your greater pleasure, the video shows the score of the piece, turning its pages when the violin plays the last note of the one in view, so you can practice on-the-fly music reading while listening to the notes being played:
And finally, at least for right now, one of the most popular choral works of the XX Century. Dedicated to Nathan Parker, that is an assiduous student of Latin (but somehow doubt he got to study the sort of Latin the singers are singing here):
I have looked for a replacement of comparable quality, also in YouTube, and I am not sure there is any equally good in all aspects: quality of performance, of sound recording and of video. But the performance I am including here is pretty good, considering it is the combination of excellent forces, under the direction of a very young Seiji Ozawa, in this recording of a concert that took place more than 30 years ago:
Ray Manzarek was such a fine musician, the one performance that stands out for me was Paradise, California with guitarist Roy Rogers in 2012. And of course the days with Morrison and the Doors taking a front row seat.
Here is, once more, the lovely and so very gifted Ms. Hahn (two characteristics that seem to be a standard package when it comes to younger and talented musicians), accompanied on the piano by Ms. Zhu, playing a little something by Wolfgang Amadeus:
Thank you Alex, the Cathedral of Saint Denis, just north of Paris France, where so many kings are burried; a tremendous historical place for Mozarts Requiem.
I will try to get it on my mediaplayer
Now, this is a set of sonatas and partitas for the lute, a stringed instrument with lots of strings, played like a guitar, but with the extra strings acting as resonators to create interesting chords and reinforce the sound of those actually played.
In modern times, up to twelve-string concert acoustic guitars have been built to have something of this effect, and played by some of the top guitar players of the last one hundred years: Narciso Yepes, most famously. But the two hours and change of pinging sounds to be found in here are interesting also as an illustration of the way in which people like J.S. Bach or W.A. Mozart, amongst the most prolific classical composers ever, managed to actually have time for other things. In the case of J.S.B., for example, to have all those children and, I suppose, to keep counting them to make sure not to loose some when the family went out shopping together, or to see a show, or something like that.
One interesting thing about the YT video is its accompanying picture: the partial portrait of a well-dressed and fine-looking young lady sitting down in a pensive attitude and surrounded by different string instruments while holding a lute herself.
And now that I am here and leaving the fashion subject aside, there is something I would like you to hear. Of Vivaldi has often been said that he wrote just one concert and all the other many hundreds to his name were merely slight variations of this Ur-Concert. Not true, and so very unfair!
But that did not stop him from continuing to compose music, until that unfortunate final outcome, partly because he was hoping to sell the product of his efforts to some rich person and make some money; partly I suppose, because he was Vivaldi.
It puts me in mind of another one by Bach that his friend, the harpsichordist Goldberg, who had problems going to sleep, asked him for something to listen in bed that would help him to relax enough to drop off.
You might be the judge of my previous assertion, by listening to this recording by the extraordinary Wanda Landowska, who was one the great harpsichordists virtuosos of the past century and did much to help start the interest in Baroque music, as well as in the harpsichord repertoire. And my gateway, at age 14, to classical music, when I heard her playing, in a vinyl longplay recording with an assortment of Baroque works.
I believe that she is playing here in an instrument that was custom made for her, with three keyboards and a large and strongly built sound-box, so it sounds louder than an old-time harpsichord, although she owned a collection of antique ones and often played on them as well:
Back in his day, there were roll-playing pianos and recording pianos for creating the rolls. In the latter, the pianist played as on a regular piano, except that the keys pressed resulted in corresponding perforations being made on paper being fed mechanically from a roll, these perforations being each of a size and shape corresponding to the note played, its intensity, whether it was allowed to resonate or not, and if so for how long, etc.
[at]OscarCP
thank you, this is an excellent choice, and I answer you here again to tell that more than simple headphones are needed. The beautiful low tones were lost, so I played it again over the the good music speakers. Just great
Omission No 1 : No music, so far, from the Americas (you know, that land out there, made up of bits and pieces called North America, Central America and South America (with the Caribbean islands thrown in).
This item is remarkable both for the large scale of the work being performed, the way it is performed and, last but no least, by how the Chicago Symphony Orchestra, here in full-force, with a large and appropriately loud brass section, is conducted by Mr. Stephane Denev.
What is remarkable about the video: the remarkable quality of the sound and how remarkably well filmed it is, showing in detail how the various instruments are being played, something that always has interested me to see.
First of all, thank you, Alex5723 for posting all those links to performances that are big crowd pleasers.
And also some apologies for some erratic spelling in a couple of recent comments. One of them I could not edit, because it was immediately abducted by the system running AskWoody and taken away to be moderated. I think that I triggered some automatic action of the system, perhaps by posting four links in the same page.
As part of the series of celebrations of the 2009 edition of the Nobel Prize, Martha Argerich performed this concert (see Report #2140409 above), captivating an audience chaired by the kings of Sweden, the laureates, the jury and a select minority of guests.
It will not be casual that, seven years later, she chose to interpret the same piece. This time in Milano, in the Piaza del Domo, in the open air, with the maximum philharmonic orchestra of Italy (the La Scala orchestra), and for a heterogeneous audience with free assistance.
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