Musica
Scritto da
Non Autenticato
il 2024-03-13 02:23:23.0 alle 2024-03-13 02:23:23.0
☺
Musica
Scritto da
Wakko Warner
Wakkus Horribilis
il 2024-03-12 21:31:48.0 alle 2024-03-12 21:31:48.0
Trollate totali: 6779
L'altro 70% ci arriva grazie a Wakko 
Gli Svizzeri non sono tutti ricchi - Mattia
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Musica
Ho fatto un sondaggio in Reddit, nella sezione "classicalmusic", che chiede "Were ORIGINAL classical soundtracks (John Williams et al.) your entry point to classical music?".
Le risposte:
- 7 voti (7.9%): Yes, I started to explore classical music thanks to ORIGINAL classical-style soundtracks (John Williams et al.).
- 21 voti (23.6%): Yes, ORIGINAL classical-style soundtracks played a role, together with some pieces of concert music.
- 14 voti (15.7%): No, the opposite: after I got into classical concert music I started to explore classical-style soundtracks.
- 40 voti (44.9%): No, soundtracks didn't play any role: I've never had any interest for them.
- 7 voti (7.9%): I don't want to vote.
= 89 voti in totale
https://www.reddit.com/r/classicalmusic/comments/1... 
Se si sommano i voti delle prime due opzioni, fanno 28 voti, che divisi per 89 fanno il 31.5%.
Se però teniamo in considerazione solo gli utenti che hanno deciso di votare, il calcolo è 28/82 = 34%
Ora, quello che io cerco di spiegare ai molti rimbambiti che girano nel mondo della musica classica, e in particolar modo a quei coglioni di Talkclassical, è che i compositori di colonne sonore sono gli unici che ancora fanno BUONA promozione della musica classica e che quindi i loro pezzi dovrebbero essere costantemente suonati da tutte le orchestre insieme ai classici della musica concertistica.
Quelle persone che si oppongono al trend di promuovere le colonne sonore nel contesto della musica classica perché hanno stabilito, sulla base di motivazioni assurde, che non sono musica classica, sembra che vogliano a tutti i costi uccidere la buona promozione della musica classica, e la sua popolarità con essa, in un periodo in cui l'interesse delle nuove generazioni per il genere sembrerebbe già di per sé essere piuttosto basso.
**Modificato dall'autore il 14.03.2024 17:27**
Le risposte:
- 7 voti (7.9%): Yes, I started to explore classical music thanks to ORIGINAL classical-style soundtracks (John Williams et al.).
- 21 voti (23.6%): Yes, ORIGINAL classical-style soundtracks played a role, together with some pieces of concert music.
- 14 voti (15.7%): No, the opposite: after I got into classical concert music I started to explore classical-style soundtracks.
- 40 voti (44.9%): No, soundtracks didn't play any role: I've never had any interest for them.
- 7 voti (7.9%): I don't want to vote.
= 89 voti in totale
Se si sommano i voti delle prime due opzioni, fanno 28 voti, che divisi per 89 fanno il 31.5%.
Se però teniamo in considerazione solo gli utenti che hanno deciso di votare, il calcolo è 28/82 = 34%
Ora, quello che io cerco di spiegare ai molti rimbambiti che girano nel mondo della musica classica, e in particolar modo a quei coglioni di Talkclassical, è che i compositori di colonne sonore sono gli unici che ancora fanno BUONA promozione della musica classica e che quindi i loro pezzi dovrebbero essere costantemente suonati da tutte le orchestre insieme ai classici della musica concertistica.
Quelle persone che si oppongono al trend di promuovere le colonne sonore nel contesto della musica classica perché hanno stabilito, sulla base di motivazioni assurde, che non sono musica classica, sembra che vogliano a tutti i costi uccidere la buona promozione della musica classica, e la sua popolarità con essa, in un periodo in cui l'interesse delle nuove generazioni per il genere sembrerebbe già di per sé essere piuttosto basso.
**Modificato dall'autore il 14.03.2024 17:27**
☺
Musica
Nei commenti 
--------
Nice symphony, but the video is terrible. Each movement is interrupted before the end. I was listening to this with my son and he cried at the end of each movement. I told him that I will buy a copy for him from the african vendors of Milano.
It's more frustrating than a sexual act interrupted in the middle.
--------
Nice symphony, but the video is terrible. Each movement is interrupted before the end. I was listening to this with my son and he cried at the end of each movement. I told him that I will buy a copy for him from the african vendors of Milano.
It's more frustrating than a sexual act interrupted in the middle.
Black Woman Destroys White Privilege Myth
Ad
https://www.youtube.com/watch?v=pbccGbPKwok
Femmina nera onesta ci spiega il concetto del "white privilege"
☺
Musica
People obsessed by categories: "Soundtracks are not classical music!!!"
https://www.good-music-guide.com/community/index.p...
The purpose of giving names to different kinds of music is to understand, more or less, what to expect from a musical work, but there are people in the classical music world who are literally obsessed with categories, as if it was possible to scientifically determine the genre of a musical work.
Well, it's not possible: as soon as you formulate a rule to determine if something is classical music or not, someone will give you an example of a work that doesn't fit the rule.
Some examples here below.
Two days ago I listened to a contemporary violin concerto (2017) in Youtube and I read this comment below the video.
------------
He is writing in the style of modern film music..... this is not classical, just listen to the last movement blasting I - V - vi - IV. That is called instant gratification, which is how pop music works.
------------
Basically, what this guy wrote, is that in classical music should be forbidden to use determined chord progressions.
If you use I - V - vi - IV, your musical work should be expelled from the genre.
Furthermore he speaks about film music as if it was a different genre in respect to classical music, while in reality the style of many soundtracks is so close to the neoromantic music of the 20th Century that it makes sense to label them as "classical music".
For example, listen to this movement of Joly Braga Santos between 00:38 and 01:52 and tell me that it doesn't sound exactly like the opening of an american movie, maybe with the score written by John Williams!
I call this "american neoromanticism": I think that this style was born with the Symphony No. 9 of Dvorak in 1893 and that while some composers at the beginning of the 20th century were experimenting dissonance, other composers were developing this new kind of romantic style music, which became the standard in soundtracks of american films, probably because it transmits a sense of "adventure".
I'm not sure about this, as I'm not a musicologist and I've never read books about musicology: perhaps I should open a discussion about this.
So, why do many people reject the classification of american neoromantic soundtracks as classical music, when this style is clearily born inside classical music?
Other people obsessed by categories follow different paths to exclude classical-style soundtracks from classical music, for example this article written in a musical blog of the newspaper "theguardian.com": https://www.theguardian.com/music/musicblog/2008/a...
Basically, this guy was angry because Classic FM promotes classical-style soundtracks.
After he has established for everyone of us that the soundtracks of Morricone are good music while the soundtracks of Hans Zimmer are bad music (as if he was any kind of authority to decide what is good and what is not good... he doesn't provide any argument to explain why Hans Zimmer sucks), he says that soundtracks can not be considered classical music because while soundtracks are composed to accompany pictures, classical music is an abstract art form designed to provoke a truly subjective response in each of its listeners.
As I wrote above, everytime you try to find a rule that makes something classical or that excludes something from classical music, someone will give you an example of a work categorized as classical music that doesn't fit that rule, but in this case the error is huge, because there are entire subgenres of classical music that are intended to accompany images: opera and incidental music.
Classical soundtracks are nothing else than a subcategory of classical incidental music, which can be divided between:
- Classical incidental music for theatre (for example "A Midsummer Night's Dream" of Mendelssohn)
- Classical incidental music for cinema and TV (for example "Star Wars" of John Williams or "The Lion King" of Hans Zimmer)
- Classical incidental music for videogames (for example "King Bowser" of Super Mario Galaxy)
"So, W.A. Mozart, this is all you have? Do you open a discussion only for the bullshit of two people in the web?"
Well, no. I've already disussed this argument in other classical music forums, and perhaps the 50% of the users had to make sure that classical-style soundtracks won't be classified as classical music.
The people obsessed by categories are a lot in the classical music world: I only provided two examples because I can not discuss every single examples.
So, I'll simply discuss about arguments that often come out.
Other people say that what makes music classical is that it's not composed or played for commercial purposes and that since soundtracks are composed for commercial pruposes they are not classical music. This is an other big error, because many (most?) highly celebrated composers of classical music created music for money.
As a side note, I'll also tell you that I think that the idea that commercial music is of a lower quality is absurd, because professional composers can dedicate their full time to music and, as a result, we can imagine that they reach a high level of craftmanship that it's difficult to reach if you have to dedicate most hours of your time to other activities).
Not surprinsingly, Mozart and Beethoven were professional composers.
A variation of this argument is that something is classical music only if the composer is free to write whatever he wants and that if the there is a client who tells you that he expects to receive X, X will be not classical music.
Basically, the idea is that in classical music there is not someone who puts his nose in your work, and since the works of the composers of soundtracks must be approved by the directors, the product will not be classical music.
So, what about the String Quartet No. 13 of Beethoven?
https://en.wikipedia.org/wiki/Grosse_Fuge
---------------
The Grosse Fuge was originally composed as the final movement of Beethoven's Quartet No. 13 in B♭ major, Op. 130, written in 1825; but Beethoven's publisher was concerned about the dismal commercial prospects of the piece and wanted the composer to replace the fugue with a new finale. Beethoven complied, and the Grosse Fuge was published as a separate work in 1827 as Op. 133
---------------
Regarding Beethoven, I could also mention that he had to recompose parts of his incidental music for Ruins of Athens because someone else changed the lyrics.
What about Mozart? The Emperor wanted to eliminate his ballet in "Le Nozze di Figaro". A the end he didn't, but this example shows us that the public authorities had the controls of arts in the classical period.
Now, if someone told me that the industry in the modern capitalism is more business/profit oriented and that the freedom of soundtrack composers is even more restricted in respect to the one of the old composers, I might understand the argument (although the notion should be seriously verified), but really... how do you determine where is the line? Which is the point from which the music stops to be classical because there are too many intrusions in the artistic work of the composer? Where is the point from which the intrusions become "too many"?
If it was a binary matter, 1 or 0, like "Beethoven and Mozart wrote music for themselves and they didn't receive money, while John Williams receives a lot of money from a big business-profit oriented industry", the distinction would make sense... but this doesn't describe the reality.
Basically, if we decided that classical music is not commercial music, we should eliminate the music of Mozart and Beethoven from classical music.
An other argument is that classical music is the music that has passed the test of time, but since the existence of contemporary classical music is recognized, this is an other huge error.
Furthermore I might ask: is the music of the the high numbers of the forgotten classical music composers not classical?
That poor man who has composed the spurious Violin Concerto No. 6 of Mozart, Johann Friedrich Eck, has not even a wikipedia page.
Does anyone thinks that this is not classical music?
Finally, someone told me that since soundtracks don't follow the forms of classical music (such as the sonata-form), they are not classical music.
The problem of this argument is that even classical music doesn't follows the forms of classical music.
In the classical period and at the beginning of the romantic period the composers used to follow a well-defined sonata-form, but later the form was broken and it became a very generic thing, like "write some themes and some development around them", and since the generic sonata-form (theme + developments) is also used in soundtracks, why can't we not say that even soundtracks follow the forms of classical music?
In conclusion, don't try to find mathematical rules to determine if something is classical music or not.
Whether something is classical music, jazz, rock, whatever... is determined by the istinct, by our subjective perception.
So, if most people who have to label musical works agree about the fact that the music of John Williams is classical, his music will be categorized as "classical". It's easy!
Here below examples of websites that consider soundtracks as a form of classical music.
https://www.allmusic.com/genre/classical-ma0000002...
https://en.wikipedia.org/wiki/List_of_classical_mu...
https://www.prestomusic.com/classical/genres
https://rateyourmusic.com/genre/cinematic-classica...
https://halloffame.classicfm.com/2023/
Since the classification is subjective and not objective, determined by our istinct, we might not agree about the classification of one musical work... so what? Is it so important to determine if something is classical music or not?
Some people are even obsessed with the distinction between popular music and classical music, as if they had to be rigidly separated categories, but this was not the spirit of the great composers.
In the Symphony No. 9, Dvorak borrow elements from american folk music.
The people obsessed by categories think that the contemporary classical music must be completely separated from popular music and that if a composer borrows elements from the popular music of today, his music must be not considered classical.
So, why don't they ask to expel the Symphony 9 of Dovrak from classical music? And why should the freedom of the contemporary classical composers be so restricted if this dumb rule didn't make any sense in the eyes of composers who have made the history of classical music?
https://www.good-music-guide.com/community/index.p...
The purpose of giving names to different kinds of music is to understand, more or less, what to expect from a musical work, but there are people in the classical music world who are literally obsessed with categories, as if it was possible to scientifically determine the genre of a musical work.
Well, it's not possible: as soon as you formulate a rule to determine if something is classical music or not, someone will give you an example of a work that doesn't fit the rule.
Some examples here below.
Two days ago I listened to a contemporary violin concerto (2017) in Youtube and I read this comment below the video.
------------
He is writing in the style of modern film music..... this is not classical, just listen to the last movement blasting I - V - vi - IV. That is called instant gratification, which is how pop music works.
------------
Basically, what this guy wrote, is that in classical music should be forbidden to use determined chord progressions.
If you use I - V - vi - IV, your musical work should be expelled from the genre.
Furthermore he speaks about film music as if it was a different genre in respect to classical music, while in reality the style of many soundtracks is so close to the neoromantic music of the 20th Century that it makes sense to label them as "classical music".
For example, listen to this movement of Joly Braga Santos between 00:38 and 01:52 and tell me that it doesn't sound exactly like the opening of an american movie, maybe with the score written by John Williams!
I call this "american neoromanticism": I think that this style was born with the Symphony No. 9 of Dvorak in 1893 and that while some composers at the beginning of the 20th century were experimenting dissonance, other composers were developing this new kind of romantic style music, which became the standard in soundtracks of american films, probably because it transmits a sense of "adventure".
I'm not sure about this, as I'm not a musicologist and I've never read books about musicology: perhaps I should open a discussion about this.
So, why do many people reject the classification of american neoromantic soundtracks as classical music, when this style is clearily born inside classical music?
Other people obsessed by categories follow different paths to exclude classical-style soundtracks from classical music, for example this article written in a musical blog of the newspaper "theguardian.com": https://www.theguardian.com/music/musicblog/2008/a...
Basically, this guy was angry because Classic FM promotes classical-style soundtracks.
After he has established for everyone of us that the soundtracks of Morricone are good music while the soundtracks of Hans Zimmer are bad music (as if he was any kind of authority to decide what is good and what is not good... he doesn't provide any argument to explain why Hans Zimmer sucks), he says that soundtracks can not be considered classical music because while soundtracks are composed to accompany pictures, classical music is an abstract art form designed to provoke a truly subjective response in each of its listeners.
As I wrote above, everytime you try to find a rule that makes something classical or that excludes something from classical music, someone will give you an example of a work categorized as classical music that doesn't fit that rule, but in this case the error is huge, because there are entire subgenres of classical music that are intended to accompany images: opera and incidental music.
Classical soundtracks are nothing else than a subcategory of classical incidental music, which can be divided between:
- Classical incidental music for theatre (for example "A Midsummer Night's Dream" of Mendelssohn)
- Classical incidental music for cinema and TV (for example "Star Wars" of John Williams or "The Lion King" of Hans Zimmer)
- Classical incidental music for videogames (for example "King Bowser" of Super Mario Galaxy)
"So, W.A. Mozart, this is all you have? Do you open a discussion only for the bullshit of two people in the web?"
Well, no. I've already disussed this argument in other classical music forums, and perhaps the 50% of the users had to make sure that classical-style soundtracks won't be classified as classical music.
The people obsessed by categories are a lot in the classical music world: I only provided two examples because I can not discuss every single examples.
So, I'll simply discuss about arguments that often come out.
Other people say that what makes music classical is that it's not composed or played for commercial purposes and that since soundtracks are composed for commercial pruposes they are not classical music. This is an other big error, because many (most?) highly celebrated composers of classical music created music for money.
As a side note, I'll also tell you that I think that the idea that commercial music is of a lower quality is absurd, because professional composers can dedicate their full time to music and, as a result, we can imagine that they reach a high level of craftmanship that it's difficult to reach if you have to dedicate most hours of your time to other activities).
Not surprinsingly, Mozart and Beethoven were professional composers.
A variation of this argument is that something is classical music only if the composer is free to write whatever he wants and that if the there is a client who tells you that he expects to receive X, X will be not classical music.
Basically, the idea is that in classical music there is not someone who puts his nose in your work, and since the works of the composers of soundtracks must be approved by the directors, the product will not be classical music.
So, what about the String Quartet No. 13 of Beethoven?
---------------
The Grosse Fuge was originally composed as the final movement of Beethoven's Quartet No. 13 in B♭ major, Op. 130, written in 1825; but Beethoven's publisher was concerned about the dismal commercial prospects of the piece and wanted the composer to replace the fugue with a new finale. Beethoven complied, and the Grosse Fuge was published as a separate work in 1827 as Op. 133
---------------
Regarding Beethoven, I could also mention that he had to recompose parts of his incidental music for Ruins of Athens because someone else changed the lyrics.
What about Mozart? The Emperor wanted to eliminate his ballet in "Le Nozze di Figaro". A the end he didn't, but this example shows us that the public authorities had the controls of arts in the classical period.
Now, if someone told me that the industry in the modern capitalism is more business/profit oriented and that the freedom of soundtrack composers is even more restricted in respect to the one of the old composers, I might understand the argument (although the notion should be seriously verified), but really... how do you determine where is the line? Which is the point from which the music stops to be classical because there are too many intrusions in the artistic work of the composer? Where is the point from which the intrusions become "too many"?
If it was a binary matter, 1 or 0, like "Beethoven and Mozart wrote music for themselves and they didn't receive money, while John Williams receives a lot of money from a big business-profit oriented industry", the distinction would make sense... but this doesn't describe the reality.
Basically, if we decided that classical music is not commercial music, we should eliminate the music of Mozart and Beethoven from classical music.
An other argument is that classical music is the music that has passed the test of time, but since the existence of contemporary classical music is recognized, this is an other huge error.
Furthermore I might ask: is the music of the the high numbers of the forgotten classical music composers not classical?
That poor man who has composed the spurious Violin Concerto No. 6 of Mozart, Johann Friedrich Eck, has not even a wikipedia page.
Does anyone thinks that this is not classical music?
Finally, someone told me that since soundtracks don't follow the forms of classical music (such as the sonata-form), they are not classical music.
The problem of this argument is that even classical music doesn't follows the forms of classical music.
In the classical period and at the beginning of the romantic period the composers used to follow a well-defined sonata-form, but later the form was broken and it became a very generic thing, like "write some themes and some development around them", and since the generic sonata-form (theme + developments) is also used in soundtracks, why can't we not say that even soundtracks follow the forms of classical music?
In conclusion, don't try to find mathematical rules to determine if something is classical music or not.
Whether something is classical music, jazz, rock, whatever... is determined by the istinct, by our subjective perception.
So, if most people who have to label musical works agree about the fact that the music of John Williams is classical, his music will be categorized as "classical". It's easy!
Here below examples of websites that consider soundtracks as a form of classical music.
https://www.allmusic.com/genre/classical-ma0000002...
https://www.prestomusic.com/classical/genres
https://rateyourmusic.com/genre/cinematic-classica...
https://halloffame.classicfm.com/2023/
Since the classification is subjective and not objective, determined by our istinct, we might not agree about the classification of one musical work... so what? Is it so important to determine if something is classical music or not?
Some people are even obsessed with the distinction between popular music and classical music, as if they had to be rigidly separated categories, but this was not the spirit of the great composers.
In the Symphony No. 9, Dvorak borrow elements from american folk music.
The people obsessed by categories think that the contemporary classical music must be completely separated from popular music and that if a composer borrows elements from the popular music of today, his music must be not considered classical.
So, why don't they ask to expel the Symphony 9 of Dovrak from classical music? And why should the freedom of the contemporary classical composers be so restricted if this dumb rule didn't make any sense in the eyes of composers who have made the history of classical music?
NON DIRMELO SE LO SAI MA SE NON LO SAI SAPPILO
Ad
http://sallo.it
LO SAI? Allora NON fa per te. NON LO SAI? Allora non ti serve.
☺
Musica
Le votazioni del TC Best Original Score 2002 sono in corso, intanto partiamo con l'anno 2003.
La statuetta fu vinta da Elliot Goldenthal con la colonna sonora del film Frida.
In questo caso, la colonna sonora non è basata sulla musica classica, ma sulla musica tradizionale ispanica. Sarà contento Wakko che posto finalmente qualcosa di diverso!
Il video qui sotto, che contiene una selezione delle parti migliori della suite, è strutturato come segue:
00:00 Burn It Blue
05:29 Coyacan And Variations
08:04 Portrait Of Lupe
10:21 Still Life
11:56 The Departure
14:12 The Journey
17:11 Viva la vida
Con la prima canzone della lista, "Burn It Blue", Goldenthal si è anche preso una nomination per "Miglior canzone" sempre nello stesso anno, ma Eminem gli ha soffiato l'Oscar con "Lose Yourself" (canzone che ha scritto per il suo film autobiografico "8 Mile").
Qui sotto il video di Goldenthal che corre sul palco a prendere la statuetta toccando il culo a tutte le donne che gli capitano a tiro.
È un miracolo che non si sia preso uno schiaffo!
In quanto alla consegna dell'Oscar "Migliore canzone", la cosa comica è che Eminem (il vincitore) non si è nemmeno presentato alla cerimonia perché è rimasto a casa a guardare i cartoni animati con sua figlia, quindi la statuetta se la prende un anonimo (tutti si saranno chiesti "ma chi cazz'è questo?").
Da notare John Williams a 02:05 che si alza per far passare il capellone.
**Modificato dall'autore il 07.03.2024 17:59**
La statuetta fu vinta da Elliot Goldenthal
con la colonna sonora del film Frida.
In questo caso, la colonna sonora non è basata sulla musica classica, ma sulla musica tradizionale ispanica. Sarà contento Wakko che posto finalmente qualcosa di diverso!
Il video qui sotto, che contiene una selezione delle parti migliori della suite, è strutturato come segue:
00:00 Burn It Blue
05:29 Coyacan And Variations
08:04 Portrait Of Lupe
10:21 Still Life
11:56 The Departure
14:12 The Journey
17:11 Viva la vida
Con la prima canzone della lista, "Burn It Blue", Goldenthal si è anche preso una nomination per "Miglior canzone" sempre nello stesso anno, ma Eminem gli ha soffiato l'Oscar con "Lose Yourself" (canzone che ha scritto per il suo film autobiografico "8 Mile").
Qui sotto il video di Goldenthal che corre sul palco a prendere la statuetta toccando il culo a tutte le donne che gli capitano a tiro.
È un miracolo che non si sia preso uno schiaffo!
In quanto alla consegna dell'Oscar "Migliore canzone", la cosa comica è che Eminem (il vincitore) non si è nemmeno presentato alla cerimonia perché è rimasto a casa a guardare i cartoni animati con sua figlia, quindi la statuetta se la prende un anonimo (tutti si saranno chiesti "ma chi cazz'è questo?").
Da notare John Williams a 02:05 che si alza per far passare il capellone.
**Modificato dall'autore il 07.03.2024 17:59**
☺
Musica
Scritto da: Mattia
> Mozart compose questo bellissimo brano nel 1784, quando aveva 28 anni.
>
> La sonata fu scritta per la virtuosa del violino Regina Strinasacchi di Mantova per essere eseguita insieme a Mozart in un concerto al Kärntnerthor Theater di Vienna il 29 aprile 1784.
>
>
>
> Sebbene Mozart avesse la parte del pianoforte saldamente in testa, non si diede abbastanza tempo per scriverla, e così fu eseguita con uno spartito bianco davanti a sé per ingannare il pubblico. Secondo una storia raccontata da sua moglie Constanze, l'imperatore Giuseppe II vide gli spartiti vuoti attraverso i suoi occhiali da opera e mandò a chiamare il compositore con il suo manoscritto. A quel punto Mozart dovette confessare la verità, anche se è probabile che ciò abbia stupito il monarca piuttosto che causare la sua irritazione.
>
> In pratica, supponendo che l'imperatore fosse il committente, Mozart fu un po' come un alunno che cercò di nascondere il fatto di non aver finito i compiti, ma il maestro lo beccò.
>
>
> Il grande violinista Itzhak Perlman ci fornisce un'interpretazione molto bella ed espressiva del pezzo.
>
> Mozart - K. 454 - Violin Sonata No. 32 in B Flat (1784):
> 00:00 I. Largo - Allegro
> 07:06 II. Andante
> 15:12 III. Allegretto
>
>
Fantastico il secondo movimento!
> Mozart compose questo bellissimo brano nel 1784, quando aveva 28 anni.
>
> La sonata fu scritta per la virtuosa del violino Regina Strinasacchi
di Mantova per essere eseguita insieme a Mozart in un concerto al Kärntnerthor Theater di Vienna il 29 aprile 1784.>
>
>
> Sebbene Mozart avesse la parte del pianoforte saldamente in testa, non si diede abbastanza tempo per scriverla, e così fu eseguita con uno spartito bianco davanti a sé per ingannare il pubblico. Secondo una storia raccontata da sua moglie Constanze, l'imperatore Giuseppe II vide gli spartiti vuoti attraverso i suoi occhiali da opera e mandò a chiamare il compositore con il suo manoscritto. A quel punto Mozart dovette confessare la verità, anche se è probabile che ciò abbia stupito il monarca piuttosto che causare la sua irritazione.
>
> In pratica, supponendo che l'imperatore fosse il committente, Mozart fu un po' come un alunno che cercò di nascondere il fatto di non aver finito i compiti, ma il maestro lo beccò.
>
>
> Il grande violinista Itzhak Perlman ci fornisce un'interpretazione molto bella ed espressiva del pezzo.
>
> Mozart - K. 454 - Violin Sonata No. 32 in B Flat (1784):
> 00:00 I. Largo - Allegro
> 07:06 II. Andante
> 15:12 III. Allegretto
>
>
Fantastico il secondo movimento!
Musica
Scritto da
Non Autenticato
il 2024-03-06 00:11:02.0 alle 2024-03-06 00:11:02.0
http://michaelorenz.blogspot.com/☺
Musica
Mozart compose questo bellissimo brano nel 1784, quando aveva 28 anni.
La sonata fu scritta per la virtuosa del violino Regina Strinasacchi di Mantova per essere eseguita insieme a Mozart in un concerto al Kärntnerthor Theater di Vienna il 29 aprile 1784.
Sebbene Mozart avesse la parte del pianoforte saldamente in testa, non si diede abbastanza tempo per scriverla, e così fu eseguita con uno spartito bianco davanti a sé per ingannare il pubblico. Secondo una storia raccontata da sua moglie Constanze, l'imperatore Giuseppe II vide gli spartiti vuoti attraverso i suoi occhiali da opera e mandò a chiamare il compositore con il suo manoscritto. A quel punto Mozart dovette confessare la verità, anche se è probabile che ciò abbia stupito il monarca piuttosto che causare la sua irritazione.
In pratica, supponendo che l'imperatore fosse il committente, Mozart fu un po' come un alunno che cercò di nascondere il fatto di non aver finito i compiti, ma il maestro lo beccò.
Il grande violinista Itzhak Perlman ci fornisce un'interpretazione molto bella ed espressiva del pezzo.
Mozart - K. 454 - Violin Sonata No. 32 in B Flat (1784):
00:00 I. Largo - Allegro
07:06 II. Andante
15:12 III. Allegretto
**Modificato dall'autore il 05.03.2024 18:58**
La sonata fu scritta per la virtuosa del violino Regina Strinasacchi
di Mantova per essere eseguita insieme a Mozart in un concerto al Kärntnerthor Theater di Vienna il 29 aprile 1784.Sebbene Mozart avesse la parte del pianoforte saldamente in testa, non si diede abbastanza tempo per scriverla, e così fu eseguita con uno spartito bianco davanti a sé per ingannare il pubblico. Secondo una storia raccontata da sua moglie Constanze, l'imperatore Giuseppe II vide gli spartiti vuoti attraverso i suoi occhiali da opera e mandò a chiamare il compositore con il suo manoscritto. A quel punto Mozart dovette confessare la verità, anche se è probabile che ciò abbia stupito il monarca piuttosto che causare la sua irritazione.
In pratica, supponendo che l'imperatore fosse il committente, Mozart fu un po' come un alunno che cercò di nascondere il fatto di non aver finito i compiti, ma il maestro lo beccò.
Il grande violinista Itzhak Perlman ci fornisce un'interpretazione molto bella ed espressiva del pezzo.
Mozart - K. 454 - Violin Sonata No. 32 in B Flat (1784):
00:00 I. Largo - Allegro
07:06 II. Andante
15:12 III. Allegretto
**Modificato dall'autore il 05.03.2024 18:58**
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Musica
Scritto da: Mattia
> Venerdì sono partite le votazioni:https://www.reddit.com/r/classicalmusic/comments/1...
>
> Siete eccitati a Genova? A Chieri? Ad Ancona? Siete tutti davanti allo schermo?
>
>
> Chi vincerà tra queste colonne sonore?
>
>
> Il Signore degli Anelli: la Compagnia dell'Anello (musica composta da Howard Shore)
>
> Il video qui sotto, che contiene una selezione delle parti migliori della suite, è strutturato come segue:
> 00:00 The Breaking of the Fellowship [tema principale]
> 07:24 A Journey in the Dark
> 11:45 Concerning Hobbits
> 14:41 Flight to the Ford
> 18:56 The Great River
> 21:40 The Council of Elrond [ripresa finale del tema principale con climax]
>
> VAI AL VIDEO VIMEO
>
>
>
> A.I. Intelligenza Artificiale (musica composta da John Williams)
>
> Il video, che contiene una selezione delle parti migliori della suite, è strutturato come segue:
> 00:00 The Reunion [tema principale]
> 07:49 Abandoned in the Woods
> 09:53 The Moon Rising
> 13:23 Man-Hatten
> 18:43 End Credits - Where Dreams Are Born [ripresa finale del tema principale con climax]
>
>
>
>
> A Beautiful Mind (James Horner)
>
> Il video qui sotto, che contiene una selezione delle parti migliori della suite, è strutturato come segue:
> 00:00 Of One Heart, Of One Mind [tema principale]
> 06:22 Cracking The Russian Codes
> 09:44 End Credits [ripresa finale del tema principale con climax]
>
>
>
>
>
> Harry Potter e la Pietra Filosofale (John Williams)
>
> Il video VIMEO qui sotto, che contiene una selezione delle parti migliori della suite, è struttuato come segue:
> 00:00 Hedwig's Theme [tema principale]
> 05:09 Harry's Wondrous World
> 10:32 The Quidditch Match
> 19:02 The Arrival of Baby Harry [ripresa finale del tema principale con climax]
>
> (VIMEO) Harry Potter and the Philosopher’s Stone (2001) - Score with images - Best parts of the suite
>
>
>
> Monsters & Co. (Randy Newman)
>
> Il video VIMEO qui sotto, che contiene una selezione delle parti migliori della suite, è strutturato come segue:
> 00:00 The Ride of the Doors
> 05:10 Boo is a Cube
> 07:32 Cella's Mad
> 09:15 Mike's in Trouble
> 11:37 The Scream Extractor
> 13:52 Exile
> 16:12 Randall's Attack
> 18:37 Water is Waiting
> 21:52 Boo's Going Home
>
> Monsters, Inc. (2001) - Score with images - Best parts of the suite
Il Signore degli Anelli sta vincendo a mani basse con 13 voti, contro i 5 di Harry Potter (secondo nella classifica temporanea).
Bhe, era prevedibile! Howard Shore ha tirato fuori una colonnona sonora! Se imparate a comporre così avrete tutta la figa che vorrete.
**Modificato dall'autore il 04.03.2024 03:58**
> Venerdì sono partite le votazioni:
>
> Siete eccitati a Genova? A Chieri? Ad Ancona? Siete tutti davanti allo schermo?
>
>
> Chi vincerà tra queste colonne sonore?
>
>
> Il Signore degli Anelli: la Compagnia dell'Anello (musica composta da Howard Shore)
>
> Il video qui sotto, che contiene una selezione delle parti migliori della suite, è strutturato come segue:
> 00:00 The Breaking of the Fellowship [tema principale]
> 07:24 A Journey in the Dark
> 11:45 Concerning Hobbits
> 14:41 Flight to the Ford
> 18:56 The Great River
> 21:40 The Council of Elrond [ripresa finale del tema principale con climax]
>
> VAI AL VIDEO VIMEO
>
>
>
> A.I. Intelligenza Artificiale (musica composta da John Williams)
>
> Il video, che contiene una selezione delle parti migliori della suite, è strutturato come segue:
> 00:00 The Reunion [tema principale]
> 07:49 Abandoned in the Woods
> 09:53 The Moon Rising
> 13:23 Man-Hatten
> 18:43 End Credits - Where Dreams Are Born [ripresa finale del tema principale con climax]
>
>
>
>
> A Beautiful Mind (James Horner)
>
> Il video qui sotto, che contiene una selezione delle parti migliori della suite, è strutturato come segue:
> 00:00 Of One Heart, Of One Mind [tema principale]
> 06:22 Cracking The Russian Codes
> 09:44 End Credits [ripresa finale del tema principale con climax]
>
>
>
>
>
> Harry Potter e la Pietra Filosofale (John Williams)
>
> Il video VIMEO qui sotto, che contiene una selezione delle parti migliori della suite, è struttuato come segue:
> 00:00 Hedwig's Theme [tema principale]
> 05:09 Harry's Wondrous World
> 10:32 The Quidditch Match
> 19:02 The Arrival of Baby Harry [ripresa finale del tema principale con climax]
>
> (VIMEO) Harry Potter and the Philosopher’s Stone (2001) - Score with images - Best parts of the suite
>
>
>
> Monsters & Co. (Randy Newman)
>
> Il video VIMEO qui sotto, che contiene una selezione delle parti migliori della suite, è strutturato come segue:
> 00:00 The Ride of the Doors
> 05:10 Boo is a Cube
> 07:32 Cella's Mad
> 09:15 Mike's in Trouble
> 11:37 The Scream Extractor
> 13:52 Exile
> 16:12 Randall's Attack
> 18:37 Water is Waiting
> 21:52 Boo's Going Home
>
> Monsters, Inc. (2001) - Score with images - Best parts of the suite
Il Signore degli Anelli sta vincendo a mani basse con 13 voti, contro i 5 di Harry Potter (secondo nella classifica temporanea).
Bhe, era prevedibile! Howard Shore ha tirato fuori una colonnona sonora! Se imparate a comporre così avrete tutta la figa che vorrete.
**Modificato dall'autore il 04.03.2024 03:58**
Musica
Scritto da
Non Autenticato
il 2024-03-03 20:05:29.0 alle 2024-03-03 20:05:29.0
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☺
Musica
Venerdì sono partite le votazioni: https://www.reddit.com/r/classicalmusic/comments/1...
Siete eccitati a Genova? A Chieri? Ad Ancona? Siete tutti davanti allo schermo?
Chi vincerà tra queste colonne sonore?
Il Signore degli Anelli: la Compagnia dell'Anello (musica composta da Howard Shore)
Il video qui sotto, che contiene una selezione delle parti migliori della suite, è strutturato come segue:
00:00 The Breaking of the Fellowship [tema principale]
07:24 A Journey in the Dark
11:45 Concerning Hobbits
14:41 Flight to the Ford
18:56 The Great River
21:40 The Council of Elrond [ripresa finale del tema principale con climax]
VAI AL VIDEO VIMEO
A.I. Intelligenza Artificiale (musica composta da John Williams)
Il video, che contiene una selezione delle parti migliori della suite, è strutturato come segue:
00:00 The Reunion [tema principale]
07:49 Abandoned in the Woods
09:53 The Moon Rising
13:23 Man-Hatten
18:43 End Credits - Where Dreams Are Born [ripresa finale del tema principale con climax]
A Beautiful Mind (James Horner)
Il video qui sotto, che contiene una selezione delle parti migliori della suite, è strutturato come segue:
00:00 Of One Heart, Of One Mind [tema principale]
06:22 Cracking The Russian Codes
09:44 End Credits [ripresa finale del tema principale con climax]
Harry Potter e la Pietra Filosofale (John Williams)
Il video VIMEO qui sotto, che contiene una selezione delle parti migliori della suite, è struttuato come segue:
00:00 Hedwig's Theme [tema principale]
05:09 Harry's Wondrous World
10:32 The Quidditch Match
19:02 The Arrival of Baby Harry [ripresa finale del tema principale con climax]
(VIMEO) Harry Potter and the Philosopher’s Stone (2001) - Score with images - Best parts of the suite
Monsters & Co. (Randy Newman)
Il video VIMEO qui sotto, che contiene una selezione delle parti migliori della suite, è strutturato come segue:
00:00 The Ride of the Doors
05:10 Boo is a Cube
07:32 Cella's Mad
09:15 Mike's in Trouble
11:37 The Scream Extractor
13:52 Exile
16:12 Randall's Attack
18:37 Water is Waiting
21:52 Boo's Going Home
Monsters, Inc. (2001) - Score with images - Best parts of the suite
Siete eccitati a Genova? A Chieri? Ad Ancona? Siete tutti davanti allo schermo?
Chi vincerà tra queste colonne sonore?
Il Signore degli Anelli: la Compagnia dell'Anello (musica composta da Howard Shore)
Il video qui sotto, che contiene una selezione delle parti migliori della suite, è strutturato come segue:
00:00 The Breaking of the Fellowship [tema principale]
07:24 A Journey in the Dark
11:45 Concerning Hobbits
14:41 Flight to the Ford
18:56 The Great River
21:40 The Council of Elrond [ripresa finale del tema principale con climax]
VAI AL VIDEO VIMEO
A.I. Intelligenza Artificiale (musica composta da John Williams)
Il video, che contiene una selezione delle parti migliori della suite, è strutturato come segue:
00:00 The Reunion [tema principale]
07:49 Abandoned in the Woods
09:53 The Moon Rising
13:23 Man-Hatten
18:43 End Credits - Where Dreams Are Born [ripresa finale del tema principale con climax]
A Beautiful Mind (James Horner)
Il video qui sotto, che contiene una selezione delle parti migliori della suite, è strutturato come segue:
00:00 Of One Heart, Of One Mind [tema principale]
06:22 Cracking The Russian Codes
09:44 End Credits [ripresa finale del tema principale con climax]
Harry Potter e la Pietra Filosofale (John Williams)
Il video VIMEO qui sotto, che contiene una selezione delle parti migliori della suite, è struttuato come segue:
00:00 Hedwig's Theme [tema principale]
05:09 Harry's Wondrous World
10:32 The Quidditch Match
19:02 The Arrival of Baby Harry [ripresa finale del tema principale con climax]
(VIMEO) Harry Potter and the Philosopher’s Stone (2001) - Score with images - Best parts of the suite
Monsters & Co. (Randy Newman)
Il video VIMEO qui sotto, che contiene una selezione delle parti migliori della suite, è strutturato come segue:
00:00 The Ride of the Doors
05:10 Boo is a Cube
07:32 Cella's Mad
09:15 Mike's in Trouble
11:37 The Scream Extractor
13:52 Exile
16:12 Randall's Attack
18:37 Water is Waiting
21:52 Boo's Going Home
Monsters, Inc. (2001) - Score with images - Best parts of the suite