The Eighth Symphony was initiated on August 26, 1889 and there finished November 8 of the same year. Dvorak directed the premiere in Prague, on February 2, 1890. The work reflects not only the happiest Dvorak humor, but also a continuation of the commitment with the Czech nationalism of his music. Because it was composed in his summer house in Vysoká, far from the professional pressures of the urban life and possibly because the composer was proposing to invoke the folk music, the symphony was composed without effort.
The Concert for Piano for the Left Hand was initiated in the autumn 1929 and finished in 1930. Paul Wittgenstein touched the premiere with the Symphonic Band of Vienna, directed by Robert Heger, on January 5, 1932 in Vienna. Maurice Ravel was one of the big orquestadores of all the times. His capacity can be perceived along the whole concert, especially in the fullest passages. But it is necessary to listen carefully to the extraordinary originality of the opening, it goes down and calm; a sound different from the one that has appeared in any previous music.
During the spring 1910, Stravinsky had a fleeting vision: "I saw in my imagination a solemn pagan rite: the wise, seated elders in a circle, observing a girl who dances up to dying. They are sacrificing it to propitiate the spring god." The ballet The spring Consecration was initiated in the summer 1911 and finished on March 8, 1913. The premiere was directed by Pierre Monteux in Paris, on May 29, 1913. The Consecration is full of simple melodies, of folk air, often with not more than four or five different notes.
Overture, Scherzo and End was composed in January, 1841. It was released on December 6 of the same year, in Leipzig, under the guidance of Ferdinand David obtaining few applauses of the public. Schumann wrote again the end of the most major piece in Me, a few years later, and the musician was published in 1846. The work is a substantial composition, although he lacks the proportions of the symphonies of Schumann. One can hear easily in this early work the struggle of the composer for dominating the forms and the classic procedures while it kept on allowing to catch fire his romantic imagination.
Transfigured night was finished on the 1st of December, 1899 in a version for ropes sextet. It was released on March 18, 1902 in Vienna, for the Quartet Rosé. Schoenberg redid the score of the work for ropes band in 1917 and checked the biggest version in 1943. Arnold Schoenberg occupies a curious position inside the history of the music. Considered by many like the biggest composer of the XXth century and like a vital and significant innovator, he has suffered the negligence of many interpreters and the indifference of the public.
The Concert in My biggest flat was composed in January, 1777. An aspect of the originality of the K. 271 is the appearance of the piano in the second compass of the piece. In his book on the concerts for piano of Mozart, Denis Forman suggests the reason of this captivating opening of Mozart perhaps to have been to attract the attention of the public of Salzburg and to silence it quickly. Although many later concerts present in the beginning the instrument soloist, this practice was not known virtually in 1777.
Death and Transfiguration was initiated towards ends of the summer 1888 and November 18, 1889 finished. Strauss directed his premiere in Eisenach, on June 21, 1890. For the long time one believed (and even one reported in the Strauss biographies) that Death and Transfiguration had been inspired by a serious illness that the composer had suffered. But, in fact, this illness took place several months after finished the music. The literary program in fact was born not only after the illness but several months after the composition of the tonal poem, when Strauss asked his friend Alexander Ritter to write a poem to transmit the meaning of the music.
After the “fracaso ” of the Concert Nº 4 for Piano and Band, writing for the left hand, Prokofiev started being employed at once at the Nº 5, at my flat biggest and catalogued in the Op. 73. It happened in the year 1932, with which this Ukrainian composer “igualaba ” to Beethoven in his series of 5 concerts for piano and band. It was released almost immediately, on October 31; it happened neither more nor less than in Berlin acting the same composer to the piano and under the guidance of notable Wilhem Furtwängler.
The Fifth Symphony was already thought by Jan Sibelius in 1912 and it finished for the first time in 1915. This preliminary version was released by the director Robert Kajanus, in occasion of the fiftieth birthday of the composer, on December 8, 1915. Sibelius began to reescribirla after this presentation, and finished finally the work in 1919. Sibelius directed this version in November, 1919. It is an entire contrast with regard to the Fourth Symphony, interior and nebula. With the Country house, Sibelius returns to the energetic world of the Second one, but with a sophistication grade significantly major.
When one thinks about a “concierto for the left hand ” at once there occurs to him the work created by Maurice Ravel, which, and really, composed this French musician; a concert with this so showy characteristic and in which the pianist has to use only the left hand. But in this case we want to refer to a work that there assembles this demand, that of there uses only this top member, the arm and the left hand, but that was created by the Ukrainian Serguei Prokofiev. The interesting thing of this, the fact is that both concerts had the same motive or cause for his composition.
The Third Concert for Piano was composed during the summer 1909. The composer interpreted the premiere with the Symphonic Band of New York, directed by Walter Damrosh, on November 28, 1909. Rachmaninov composed his Third Concert in his summer farm Ivanovka. He needed a new concert to touch it in his next tour along the United States. He had decided to go to North America with some doubts, since he was not liking the North Americans in particular. He was complaining of that they always and exclusively they were thinking about business.
The Classic Symphony takes forms, melodies, structures of phrases and typical rhythms of the classicism and twists them in a humorous way and simultaneously gracefully. We can "listen" to an original hypothetical version of the music watching below the surface. In other words, it is as if we could eliminate the ingenuity and discover a real classic symphony. The Prokofiev son once observed that his first father was writing music and then the "prokofievizaba". Certainly, it is possible to imagine that a process of such composition was producing the Classic Symphony.
On February 17, 1653: Arcangelo Corelli, musician and Italian composer is born. Grosso contributed to the crystallization of the concerto. Author of numerous instrumental works (Concert of Christmas, The Follia, sonatas), father of the sonata for violin and inspirer of a group of composers of this instrument like Varacini, Germiniani and Viotti.
On February 13, 1883: Richard Wagner dies in Venice. Composer of German origin, renovator of the romantic opera. His inclination towards the music did not wake up up to knowing the works of Weber and Beethoven. After a life lax and invested in the game and the women, he married and traveled to Paris and then to Dresden, where his work was recognized. The transfer of his remains was comparable to the funeral procession of a big sovereign one.
On February 13, 1976: the soprano Lily Pons dies. A voice crystalline and extended towards the sharp one, joined a graceful figure and personal friendliness, they constitute the props of the formidable success of Lily Pons. An exceeded publicity helped to do of her almost a sacred monster of the singing; so much it was so in the decade of '40 went so far as to consider her to be the best singer of the world.
On February 12, 1924: there is released "Rhapsody In Blue" of George Gershwin. Gershwin managed to unite in this work three fundamental elements of the music of his country: the piano popular tradition, the harmonic treatment of the music of the theater of varieties and all the ambience of the African American blues.
On February 10, 1881: I release in Paris of "The Stories of Hoffmann" of Jacques Offenbach. The opera is an adaptation of Jules Barbier and Michel Carré of several stories of writer Ernst T.A. Hoffmann. The first one takes place with a mechanical doll, the second one with the victim of the conjuration of a magician, and the third one with a moribund sick person. The history begins with a prologue ambientado in a bar.
"The director does not have physical contact with the music that his instrumentalists produce and at most he can correct the phrasing or the rhythm of the score but his gesture does not exist if it does not find a band that is receiving"
"It would give everything what I have as a little of the genius that Schubert needed to compose his Ave Maria"
"When the work turns out to be a success, when a problem has been solved, we forget the difficulties and the perturbations and feel richly rewarded"
"When one is inspired by something good, the musician is born fluently, the melodies sprout; really this is a big satisfaction"
"With the help and the God's grace, I will be a Mozart in the composition and a Liszt in the skill"
Piazzolla represents one of the rarest cases in which an author is unrolled of extraordinary form so much in the world of the popular music, with his tangos of Buenos Aires, as in that of the refined or classic music. Called symphonic tango created a new genre renewing this way of decisive form the tango. If it is considered that the work of Piazzolla begins in 1946 with The desbande and concludes in 1990, with Him grand tango and with Five tango sensations, that the same year records with the quartet of ropes Kronos, it is deduced that it covers 46 years, space in which it produced not less than eight hundred works.
Carlos Gardel is perhaps the biggest myth of the Argentina. His artistic skill, his incomparable talent as singer of the suburbs of Buenos Aires, his musical instinct to compose some of the biggest tangos of all the times, his marvelous character, his fanaticism for the careers, have led him to being equalled perhaps only by another legend of the country of the south of the Silver: Eva Perón. Nevertheless, while all political activity can be worth of objections, comments and mistrust on the part of certain sectors of the population, the figure of Carlos Gardel is erected as universally for all the Argentinians and the followers of the tango across the world.
The music and the dance of the River Plate came to the margins of the Seine more than one century ago, seducing the French, but Juan José Mosalini lives through the tango now a real explosion in France, of the hand of some of his contemporary teachers, like the bandoneonista. In an interview with the AFP in Paris, before traveling to Argentina, where it will offer two concerts, and from which it will set off then in the direction of China, Mosalini evoked "passionate and unconditional" relation between Paris and the tango and between he and the bandoneón, which came to his hands when it was a chiquilín.
75 anniversary of the death of the singer and tanguista Carlos Gardel will lead XXII edition of the International Festival of Tango of Granada, which also will organize several parallel activities between which there are holidays of trasnoche, tango in the university or an exhibition. Between the artists who will take part in three forms of the festival - dance, set of instruments and sung - there is Leo Sujatovich, Cristian Zárate and the Japanese couple of dance Kyoto and Hiros Yamao.
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