# Chain Reactions



## Ingélou (Feb 10, 2013)

I would like to chat about music and find out about new pieces. I'm wondering if this format will 'fit the bill'.

I shall post a short piece or extract of any type or era of classical music (up to 20 minutes, but preferably shorter).

I shall say something about my own response to it.

The next poster, please, will also say what he or she thinks of the piece I posted, before posting a short musical piece or extract of his or her own, with a comment-response.

What you say can be a purely personal response or you could give some opinion or information about more technical musical matters.

The pieces don't have to be thematically linked or anything - just pieces you've chosen out of interest or because you like them.

I look forward to listening and learning. Thank you in advance for any helpful responses.

Live long & prosper. :tiphat:

*~~~~~~~~~~~~~~~~~~~~~~
PS - There is a difficulty with this thread, I now realise - that while one poster is listening and getting his/her comment ready, another poster may be doing the same!

Art Rock :tiphat: has shown one good solution - to post your interest & that you're going next and then re-edit the post to show your comments and your choice.

If two posters do accidentally answer at very nearly the same time, that doesn't matter, so long as somebody listens to both the choices that are put forward.
The next poster could respond to both the choices before posting their own.

I will also keep checking that everyone's choice has at least one comment on it.*


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## Ingélou (Feb 10, 2013)

Pandolfi Mealli - La Cesta 1660






Andrew Manze, baroque violin
Richard Egarr, harpsichord
Fred Jacobs, Theorbo
~~~~~~~~~~~~~~~~~~~~~~~~~~

I knew nothing about this composer until my fiddle teacher in East Anglia told me about him - Fiddle Guru is an HIP Baroque professional who plays viola with La Serenissima, and he values what he calls 'experimental' baroque music.

What I like about this music is its strange eerie quality - to my untutored ear it sounds Arabian in places. I also like the tone of Andrew Manze's violin and how it gives a pleasing melancholy to the piece, as if a sad but true comment on time and life. The changes of pace seem organic like birdsong. A lot of the baroque music I like is 'hummable' and I'm a great fan of folk songs, but this one doesn't have that quality. For me, it is a beautiful dream.


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## Art Rock (Nov 28, 2009)

Pandolfi Mealli - La Cesta 1660

Well, this is out of my comfort zone. I don't particularly like baroque with the huge exception of JS Bach. This was a very pleasant surprise. I especially like the first two and a half minutes, where the violin soars in a way I would not have recognized as early baroque (in contrast to the other instruments). After that it sounds a bit more generic for its time (the final is original once more), but it never outstays its welcome for me in spite of my generally indifferent feelings to this time period. Thanks for introducing me to this piece (and this composer)!

Arnold Bax - November woods 1917






November Woods is a tone poem completed in 1917 by British composer Arnold Bax (1883 - 1953). Of his many tone poems, this may not be the most famous, but for me it is the best. Bax stated that the piece "may be taken as an impression of the dank and stormy music of nature in the late autumn, but the whole piece and its origins are connected with certain rather troublous experiences I was going through myself at the time...."


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## Taggart (Feb 14, 2013)

Arnold Bax - November woods 1917

This not a period I listen to a lot. It is very much of its age - the influence of Victorian romanticism in the more harmonic sections interspersed by discords which were becoming part of 20th century music. It was a thoughtful piece and allowed me to broaden my listening horizons. I appreciated the music. Thankyou for posting:tiphat:

J.S. Bach: Prelude and Fugue in C minor (WTK, Book II, No.2) , BWV 871






This is something that I'm attempting to play at the minute. It's a nice bouncy prelude followed by a simple but thoughtful fugue. What I like about this performance is that it doesn't feel rushed and gives the music time to breathe. It lets the interplay in the prelude happen naturally and makes the fugue comprehensible.


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## Ingélou (Feb 10, 2013)

J.S. Bach: Prelude and Fugue in C minor (WTK, Book II, No.2) , BWV 871

Despite being a lover of baroque music, and married to a Huge Bach Fan, I prefer other baroque composers. I enjoyed this piece, for its spriggy patterns and the way it builds up, like a murmuration of starlings converging on a lake. However, I couldn't help wishing that this had been a harpsichord version - the piano (for me) makes the music sound more flippant and incidental.

John Cage - Dream (1948)






However, I do like the piano in this piece of earlier-style John Cage. It has a beautiful tone. I love the meandering notes, and the fitful pauses, giving me a feeling of 'trying sounds out'. To me it's not so much like a dream, as like that interregnum between settling to sleep and actually getting off - a long two minutes where scraps of 'deeply meaningful' nonsense drift through your head, never to be remembered after. Just for a moment, though, one is on the verge of knowing the meaning of everything. 

~~~~~~~~~~~~~~~~~~~~~

Edit: Mandryka and I cross-posted. I had listened and framed a response to Mandryka's post before realising that Art Rock is going to connect the two streams again. So I'll post my response to Mandryka's post here:

Cassandra Miller & Juliet Fraser 'Tracery : T. Rex'

I thought it an interesting sound which gives some insight into tones used in conversation and social games that people play. It is music, and it is clever. One of my school friends, a retired violin teacher, is now into improvised music and one of her group does this talk-singing too, so I am fairly used to this type of music. I like the way in Tracery that the disturbing 'cronelike chanting' gives way to more conversational music and then finally breaks up just like a real-life conversation does. 
Taggart tells me that this piece was commissioned for Snape last year - I think it would have been a very successful performance (in terms of audience-appreciation). Thanks for posting.


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## Mandryka (Feb 22, 2013)

BWV 871 That's a agreeable performance, pretty and sweet.

Not managed to get into that one -- what do you make of this?






Unfortunately I can't find the T Rex song which inspired it. I found it because I'm interested in meditation and music. Some more details about the Traceries project here.

https://cassandramiller.wordpress.com/2017/02/07/tracery/


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## Art Rock (Nov 28, 2009)

John Cage - Dream (1948)

Although I am not a big fan of solo piano in general, I do like John Cage a lot, and this piece (which I heard before) is another example why. The piece is a soundscape hovering somewhere between the new age/ambient pieces by the likes of Harold Budd and George Winston on the one hand and the more formal works of say Satie and Debussy. It is peaceful, meditative, and has the right length. I just wish that all those Cage-haters did not base their opinion on one piece only (4'33"). Good choice.

Cassandra Miller - Tracery - T. Rex (around 2018?)

I am in general interested in contemporary classical music, and also in the influences of pop/rock on modern classical compositions. This ticks both boxes. I can't ID the T. Rex song either by the way. It is an interesting piece, but maybe more suited to a live rendition than listening to it as if it were a recording. She realizes an amazing variation in sound patterns, just from a few voices, that sound like distorted samples put together collage style. This was an interesting piece by a composer I had not listened to before.

Thanks both for these choices!

*Toru Takemitsu - A Flock Descends into the Pentagonal Garden (1977)
*





Takemitsu is Japan's most famous classical composer, with a style influenced by Debussy and Messiaen, with injections of Japanese traditions. This is one of his most famous works, with a title that could have been taken from a Japanese poem.


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## Ingélou (Feb 10, 2013)

*Toru Takemitsu - A Flock Descends into the Pentagonal Garden (1977)
*
 I am an ignoramus, having come to classical music so late, but even I had heard of Takemitsu, maybe from Mahlerian when he was on TC in the olden days (he lived in Japan). However, I needed to put the composer into context and found this article very helpful. I was interested to read that Cage was a big influence on Takemitsu. 
https://www.indianapolissymphony.or...-a-flock-descends-into-the-pentagonal-garden/

This style of music is not my natural territory but I can truthfully say that I enjoyed the piece. It's powerful and although I am not used to discordant sounds, I can see how they work here in building up the atmosphere. I like the intermix of tinkling peaceful sounds and more threatening brass at c. 8 minutes 55 seconds. Maybe because he is using Japanese traditions as well as modern-classical-music trends, I find it less shapeless and meaningless than some other music of this era that I've listened to. I shall try more of this composer. Thanks for posting.

*John Tavener - Thrinos for solo cello (1990) - Raphael Wallfisch, cello*

(from Google) Thrinos (Lament) for solo cello was composed late in 1990, for Stephen Isserlis. The title, Tavener writes, 'has both liturgical and folk significance in Greece - the Thrinos of the Mother of God sung at the Epitaphios on Good Friday and the Thrinos of mourning which is chanted over the dead body on the house of a close friend.' Tavener wrote his Thrinos to commemorate the death of a close friend.
(Michael Stewart - source of quotation)






A beautiful, moving, elegiac piece. I felt I could relate to this piece because of the wonderful cello-sounds, and also because some of the musical themes reminded me of styles of music that I love - a Welsh lullaby, a bit of klezmer. For me this piece has spiritual depth.


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## Taggart (Feb 14, 2013)

John Tavener - Thrinos for solo cello (1990) - Raphael Wallfisch, cello

An interesting piece. Beautiful cello sounds and a mixture of different themes. Lovely to listen to but I kept looking for a structure that didn't seem to be there.

Edvard Grieg - Wedding Day at Troldhaugen






Originally written for the 25th wedding anniversary of Grieg and his wife Nina.It is a march in imitation of the Norwegian (and Shetland) wedding march; it also reflects the joy of the wedding. I enjoy the folk flavoured nature of Grieg's work and the sprightly nature of the tune.


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## SeptimalTritone (Jul 7, 2014)

Regarding the Grieg - loved the rustic open fifths, the percussive rhythms, and the exotic contrasting sections!

...

Xenakis - Bohor (1962) for 8-channel tape. This uses Laotian mouth organ, Iraqi/Hindu jewelry, Byzantine chant, and piano as sound sources, all manipulated in some way. You can hear these elements if you listen carefully - however, the main point is the unique overall sound world. It's a beautiful gradually evolving soundscape. This was one of some guy's (yes, the one and only some guy for those who have been here for way too long) favorite pieces. And I like this too - to me, it's so evocative that I get a mental image of being in some underground technological Dwarven fantasy ruins.






I think that as personally uncompromising as some guy was, that the music he advocated was much more approachable than his uncompromising personality made the music seem! This is an immediately approachable and gorgeous world of sound - and it undergoes a gradual "crescendo" in intensity as the piece goes on - and this kind of gradual, subtle, and varied increase in intensity for 20 minutes is impossible under "normal" instrumental symphonic/chamber music with its focus on themes, lines, and harmonies. And this is why different kinds of music have completely different ways in which they should be broken down and evaluated.


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## Art Rock (Nov 28, 2009)

Xenakis - Bohor (1962)

I have a few Xenakis CD's, but they are all with works on regular instruments - this is the first time I encounter a Xenakis work for tape. It is a fascinating combination of harshness and subtlety, very evocative - in some ways, although it is still quite different, it reminded me of the outstanding soundtrack of the Chernobyl TV series by Hildur Guðnadóttir. I enjoyed listening to it throughout - right up to the very abrupt end. At first, I was not sure I would return to it very often, but now that it's finished I think I will. Thanks for this new experience.

Lilburn - Aotearoa overture (1940)






Douglas Lilburn was the most famous New Zealand composer. His recorded legacy is still small, but includes three symphonies and this concerto overture (Aotearoa is the Māori name for New Zealand).


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## SONNET CLV (May 31, 2014)

*Chain Reactions*

Being obstinate (and somewhat counter-social), I will not participate in this particular "chain reaction" thread, but rather comment, more in a "chain link" manner, on each of the works thus far posted, just because I would like to say something about them.

I was impressed by the Pandolfi Mealli _La Cesta_. I had never heard this piece before, and I don't recall hearing of the composer, but I reckon if I searched through some of the Baroque box sets in my collection I'd find something by the composer. I listened to the entire piece, struck by the magical darkness of the work. It had a sense of that somewhat off-kilter Baroque tuning that puts pitches at non-standard modern tone frequencies, especially in the early portion of the work. An imaginative piece by any standard. Thank you for introducing it.

The Bax is an old favorite, but it's not my favorite Bax. That accolade goes to _Tintagel_, which to my ears is the ultimate Bax work. I can listen to (and have listened to) _Tintagel_ on repeat mode and never tire of it. No other Bax gives me the same freshness with every listen. Other Bax works I rate highly are the 3rd and 4th Symphonies, though I do enjoy all of the Bax symphonies. _November Woods_ does present the Bax sound splendidly and is a fine introduction to the composer's music, but I will still give the nod to _Tintagel_. (By the way, I love scrolling scores accompanying music. I'd never seen the score to this tone poem, so that was special.)

I enjoy hearing new versions (interpretations, performances) of the Bach keyboard masterpieces. I listen with little concern about critiquing one performance against another. Bach is just so splendid, let everyone take a crack at him. Those good players will have something to say and will communicate to us listeners. And this was my first acquaintance (that I recall) with hearing Schiff play this music. A fine performance. I wish Taggart all the best in mastering this work. When I play anything by Bach, one might mistake the music for a piece by Stockhausen. But then I grew up playing guitar in a heavy metal band, so what do I know about Bach keyboard music!

_Dream_. Early John Cage piano music tends to strike me as rather empty. And so does _Dream_. I appreciate the poster's appreciation of the piano sound. How might that same instrument sound with some Beethoven or Liszt coming off the fingers? Cage here seems to be dreaming, indeed, perhaps of how to change the sound of a piano by preparing it, or how the music might sound even more emptier if even more notes were taken out. I have dozens of discs full of John Cage piano music and I do enjoy much of it, though I often enjoy it more for its thoughtful outrageousness rather than "musical" qualities such as melody, harmony, or memorability. I'm not against experimental music, but this _Dream_ piece seems to just meander along (as does much else by Cage) and makes me wish the fellow would finally just wake up and get on with something else.

_Tracery: T Rex_ is that kind of piece I encounter from time to time on discs from the NEOS label, a label concentrating on new music and a label which puts out a compilation each year from the _Donaueschinger Musiktage_. Interestingly enough, John Cage has done a lot of experimental vocal music, and I find his stuff much more enjoyable and interesting than this. Though I remain an advocate of new music and experimental music, some pieces strike me simply as silly. At least the lyrics were in a language I understand. Perhaps it would sound better had it been in Hungarian. Time to move on (and even Cage's _Dream_ would be a relief following this. I have a feeling I'd enjoy the original T. Rex song much more than this revisitation.)

Takemitsu is always competent and intriguing. This is what the best of contemporary music should be -- revelatory and interesting on the ears and mind. Repeat listenings are welcome.

I've never been a big John Tavener fan, but I do love solo cello music and the performances of cellist Raphael Wallfisch, whom I remember best from his playing of the Finzi Concerto, one of the great recordings of our age. This particular piece ranks in my estimation with the _Dream_ work by Cage. It's a touch too little to hold my interest over its length. I'd rather hear the Bach Cello Suites, or even experimental cellos music by Xenakis. A cello playing Gregorian chant is a cello playing Gregorian chant. I suspect it's not supposed to be too exciting or fresh sounding. Still, because of Wallfisch, the piece is well performed. That much I can tell.

You gotta love Grieg. Grieg is a composer I grew up with as I discovered classical music in my youth. His Piano Concerto is one of the great pieces. I don't listen to Grieg much any more, yet every time I hear his music (usually by way of radio broadcasts) I deeply enjoy it. The fellow is a master, and hearing this piano piece (a familiar piece) reminds me again that I shouldn't ignore Grieg. After all, I do have that big Brilliant Classics 21-CD compilation of music by Grieg. I should be combing through those discs right now.

I loved the Iannis Xenakis _Bohor_. If Takemitsu is what contemporary music should be like, so is Xenakis, though in its way it is so totally different from Takemitsu. But then I'm a fan of "noise music", that industrial stuff that emits from dark minds and darker pieces of machinery. This is definitely industrial music, and beautiful in its own way, crashing and splashing and banging and jangling. How do people think this stuff up? That's what I think about when I encounter stimulating new art. And it is why so many discs of Xenakis's music reside on my record/CD shelves.

Ah, Douglas Lilburn. What a follow up to Xenakis and _Bohor_. One of the anomalies of being a music lover is that one can enthusiastically enjoy such wide ranging pieces, lacking any ability to favor the one over the other. I first encountered Lilburn through his symphonies, of which I have all three in two different recordings in my collection. This is wonderful pastoral music, and if anyone doesn't like this stuff it's likely because they lack ears.

Well ... what a chain of links this has been.

Thank you all for posting and giving me a wonderful evening of reflection on music and such. I deeply enjoyed the experience, to which I came following a session of listening to Bach's _Easter Oratorio_. Music! Is there anything like it?


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## Ingélou (Feb 10, 2013)

Thank you, Sonnet, for your collected reviews - it was very interesting to read, and the more the merrier! :tiphat:
~~~~~~~~~~~~~~~~~~~~~~~~~~~

Going back to Art Rock's Choice, Lilburn - Aotearoa overture (1940) - I concur with Sonnet's description of it as 'wonderful pastoral stuff'. I like it but only 'quite like it', because I find this style of music too smooth and flowing, with nothing to make me sit up, and no compelling melodies. But I'm still very glad to have heard it and to fill in my knowledge of music after 1900.

Barbara Strozzi. "Che si può fare". Mariana Flores. soprano.






I found this baroque composer of vocal music myself, looking for women composers, and I do like her songs and this one in particular, with its tragic sense of fate thwarting human desires. I love the way the instruments meld in with the voice on Strozzi's songs and then have little interludes. I find her songs both reflective and moving, if that doesn't seem too paradoxical.


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## Taggart (Feb 14, 2013)

Barbara Strozzi. "Che si può fare". Mariana Flores. soprano.

What is to be done? If you can't fight fate, then write like this. Lovely interplay of instrument and voice, with the darkness of the continuo emphasizing the despair of the lyrics. The continuo provides the motion or power against which the voice reflects. Beautiful.

Vaughan Williams - Five Variants of 'Dives and Lazarus'






The tune is used for a number of folk songs. It was first collected by Lucy Broadwood in 1893. Vaughan Williams used it in 1906 as the hymn tune 'Kingsfold' ('I heard the voice of Jesus say'). He claimed to have found the tune himself in the village of Kingsfold, near Horsham in West Sussex. Vaughan Williams also used it in his popular English Folk Song Suite (1923). This version is a commission from the British Council to be played at the 1939 World's Fair in New York City. It is mean as a celebration of Britishness. The piece has a lovely pastoral feel and the harp helps it sound out. A real taste of the British countryside


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## Ingélou (Feb 10, 2013)

*Vaughan Williams - Five Variants of 'Dives and Lazarus'*

Well, it's another smooth, flowing, pastoral, post-1900 piece - something I generally don't go for, but my spouse adores. (He also likes what he calls '_sprightly_' pieces - what I call '_annoyingly perky'_.) Moreover, I have a particular dislike for folk treated in the drawing room manner - I prefer a wee bit of a crackle in the smooth tenor voice, the bow rasping as it meets the fiddle string.

However, I like this one because I know the tune and the ballad that it is based on intimately ('Dives & Lazarus' featured in my MA thesis on traditional religious ballads), and the air has something dark and sad and moving about it. The 'five variants' seem to be woven together into a symphony - again, something I normally wouldn't like, but I enjoyed listening to this one develop. It stirs my emotions.

*Debussy - Danse sacrée et danse profane, for harp and strings (1904)
*
This piece was on a list of twentieth-century pieces sent to me in 2013 by PetrB, who was a good friend to me before he left TC and disappeared into the ether. I am grateful to him, because he gave me chances to learn and had sympathy and advice for me when I was suffering with my two violin teachers, each difficult in different ways. PetrB knew that I was old-fashioned and wedded to melody above all, so he suggested some more modern pieces that wouldn't shock my ears too much. I haven't listened to this one since 2013, so it's like hearing a new piece for me.






I like this. It does annoy me by being too sweet and charming in places - sometimes even 'breezy' - but I love the contrast in sounds between the smooth violins and the prickling harp and I like the feeling I get that it's going somewhere and finally arrives.


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## SONNET CLV (May 31, 2014)

It's wonderful to be guided through the Baroque world of sound by one so well acquainted with its glories and intracacies. Thank you, Ingélou. The Barbara Strozzi "Che si può fare" proves another fine revelation and confirmation of the need to explore, explore, explore the world of music, especially that part of the world of which one lacks familiarity. Can one image a better advocate of this music than soprano Mariana Flores? A welcome delight on an Easter Day.

I spent the early hours Easter morning listening to a second interpretation of the J.S. Bach Easter Oratorio. (I have at least a handful of versions in my current collection.) After an Easter morning skype with grandkids, I followed with Haydn's _Die sieben letzten Worte_, in the Oratorio version. I found it less inspiring, seasonally, than the Bach masterpiece. More theatrical in the Haydn manner than spiritually probing. (I'm rather more familiar with the string quartet version.) The disc is number 15 from a wonderful Brilliant Classics box set titled _Passion_, which presents Easter-season works by J.S. Bach, Handel, Purcell, Palestrina, Pergolesi, Schutz, Telemann, and, of course, Haydn. After that, and before turning to this Talk Classical Forum thread, I underwent the aural assault of listening to a full performance of Messiaen's _Et exspecto resurrectionem mortuorum_, which I categorize as Easter-season music. So, it was with some relief that the ear (and spirit) balm of the Strozzi work broke into my listening room, though I elected to hear it via headphones rather than my French manufactured speakers, which should be perfect at least for the Messiaen.

The _Five Variants of 'Dives and Lazarus'_ remains one of my favorite English works, Vaughan Williams works, and musical works. I recall loving it upon first hearing, and it's long been a favorite which I never outgrow my fondness for. The work opens with a promising hint of much good to come, and it keeps its promise. Vaughan Williams has so many works on which to rest his laurels, but had he composed only this one piece, his name would be held in high esteem as one of the most satisfying composers England has produced. I am glad, though, that we have so much more from the composer. His Fourth and Fifth Symphonies remain true highpoints in an oeuvre which includes nine stunning symphonies and so much else.

I have long harped about my dislike for harp music, but there are a couple of works which negate this assessment, and the second one (after Mozart's Flute and Harp Concerto) is this piece by Debussy: _Danse sacrée et danse profane_, for harp and strings. I've often joked that if the harp is truly the instrument strummed in those Heavenly clouds, I'd prefer to take my chances in the other place. Debussy makes the joke nonsensical since his music is so inviting. A true classic (and one which I recently programmed in one of my private listening sessions just a week or so ago).


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## EnescuCvartet (Dec 16, 2016)

Mandryka said:


> BWV 871 That's a agreeable performance, pretty and sweet.
> 
> Not managed to get into that one -- what do you make of this?
> 
> ...


The source song is called Find a Little Wood. It's actually by Tyrannosaurus Rex, which was T-Rex before Bolan went electric, essentially. The first four albums were under this lengthier guise before plugging in and truncating the name. That was interesting, thanks for sharing.


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## Ingélou (Feb 10, 2013)

SONNET CLV said:


> It's wonderful to be guided through the Baroque world of sound by one so well acquainted with its glories and intracacies. Thank you, Ingélou.


Um - no. I have never claimed to be anything but a learner in any type of classical music. The only 'intricacies' I know about are in English Literature.

I'm glad you enjoyed listening to the various extracts. :tiphat:

I am also glad that I tried out my idea for this thread, but I can see that it probably won't get much further. 
C'est la vie.


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## Taggart (Feb 14, 2013)

*Debussy - Danse sacrée et danse profane, for harp and strings (1904)*

A lovely contrast. The delicate, dreamy _danse sacrée_ followed by the jaunty waltz of the _danse profane_. The writing shows the capabilities of the harp in contrast with the other instruments. A beautiful piece.

*Bach - Harpsichord Concerto No.1 in D Minor BWV 1052*






A lively, thrusting piece of Bach. The harpsichord engages in a conversation with the other instruments then proceeds to speak out on its own with minimal accompaniment before return to the conversation. An excellent display of baroque music.


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## Ingélou (Feb 10, 2013)

*Bach - Harpsichord Concerto No.1 in D Minor BWV 1052*
Just gorgeous - cascading notes, energetic rhythm, lovely melodies working with and against each other. And of course that fabulous twangly harpsichord sound contrasting with the vivid strings. Onward and upward! 
What's not to like? 

*Modest Mussorgsky - Khovanshchina: Dance of the Persian Slaves*
I came across this one by looking through an old thread of mine - 
We all know *that one* but now try *this one*.

It was recommended to me by Huilunsoittaja. I don't like the way it ends in conventional flurries. But I love the beautiful, sad & strange melody and the soigné sound of the instruments. The pace quickens in places, but then recedes. It's lovely.


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## Art Rock (Nov 28, 2009)

What's not to love here. Melodious, Russian, melancholic in places, exuberant in others, and all that in six minutes. It's been a while since I listened to the complete opera - something to put on the 'to do' list.

Aaron Avshalomov - Hutongs of Peking (1931)






This Russian composer spent a large part of his life in Shanghai, where he is still recognized at the music institute with photographs and a plaque. This symphonic poem was inspired by the narrow streets and alleys that could be found in the Northern cities of China, like Beijing (Peking).


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## Kjetil Heggelund (Jan 4, 2016)

I was thinking what to write about Avshalomov when my wife said it sounded like Christmas music/Walt Disney ("and there came the evil one who doesn't like Christmas")  I thought it sounded the way it was intended, but got a bit noisy for my ears today.

...now for my contribution






I saw this the first time about a year ago and Edin Karamazov became a new idol (he has also worked with Sting and plays phenomenal guitar). Also like Brouwers arrangement and Mr. Scholls voice.


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## SONNET CLV (May 31, 2014)

The Bach BWV 1052 remains my favorite of the Harpsichord Concerti. The version presented here is truly invigorating. The opening, one of my favorite openings in music, always brings to mind _The Merchant of Venice_, the Shakespeare play, a television production of which, some years ago, featured this music (or an arrangement of it) through the course of the play. And because _Merchant_ is a favorite play, all is well when hearing this piece of music.

Mussorgsky, who seems to have done nothing "modestly", reminds us with _Khovanshchina: Dance of the Persian Slaves_ that the Russian composers of the late 19th century were masters at producing "oriental" melodies. I was not immediately familiar with this particular piece upon clicking on it here (though I must have heard it somewhere, sometime) and would not have sourced it to Mussorgsky, had I had to guess the composer. My guess would have been Borodin. Which would still delight me, as I particularly enjoy late 19th century (and early 20th century) Russian Romanticism that features an "Eastern" spin. I agree that the opening of this work proves more inviting than does the ending, which is why I would likely prefer just to listen to something by Lyadov or Ippolitov-Ivanov. But the opera _Boris Godunov_ still rules Mussorgsky-land.

Aaron Avshalomov's _Hutongs of Peking_ was new to me, and I always enjoy music which is new to me, even if I don't care much for the music. I can choose not to listen to it ever again, but I am always happy to make its acquaintance. The jury is still out on this piece by Avshalomov, whose music I know from two Marco Polo discs in my collection. And even though _Hutongs_... is on one of the discs, I don't recall ever playing it. I paid my attention to the Violin Concerto on that disc (Marco Polo 8.225034), which also features _Soul of the Ch'in_ as well as the _Hutungs..._. Perhaps I have to program these pieces into a listening session one of these days. The other Marco Polo disc (8.225033) features the Flute Concerto and the Symphony No. 1. These pieces I have listened to, but I can't say I became a fan of the music. Off hand I do not recall any of it, which is not a good sign (though the _Hutung..._ reminds me that the music does have an Oriental flavor), but it prompts me to revisit these discs, soon, and to see if there is something to fuss about. I love fuss in respect to music. I see that I also have in my collection an Albany (TROY 160) disc of music by Jacob Avshalomov, the son of Aaron. The disc is still in shrink wrap, which means I haven't heard it, but I'm keeping it out by the CD deck to sample the wares soon. It features _Praises from the Corners of the Earth_ (apparently based on poetry by John Donne, Chief Joseph Strongwolf, The Koran, and e.e. cummings, according to the movement titles, though I see no credits for singers, so this may be purely orchestral music), _Raptures for Orchestra on Madrigals of Gesualdo_, and _Symphony of Songs_ (again, with no credit reference to singers or a chorus). I imagine I will soon have a concert of music by both Avshalomovs and including madrigals by Gesualdo, which I have in my collection on a 7-disc box set titled _Gesualdo: The Complete Madrigals_ (Naxos ‎8.507013). All because of a post from this Talk Classical Forum. Which explains in part why I continue to visit here.

The _Wayfaring Stranger_ (Leo Brouwer version) made an impression. (Again, this was unfamiliar to me, in this arrangement.) I listened to it through, twice, then got up, grabbed my guitar (I do not have a lute), and attempted to strum through some of the "grips" I saw in the video. I was less successful with the music than was Edin Karamazov. Much less. Especially considering Karamazov was totally successful. Alas ....

Another fine adventure in sound.


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## Sid James (Feb 7, 2009)

Taking off from Kjetil H's post, although I hadn't heard it before, Wayfaring Stranger took me back to something from the past. My parents had a recording of old courtly songs with similar tenor voice accompanied by instruments such as lute. Music of this kind often makes me think how quiet people's lives where during that time before electricity, when the only sound in a room would be a crackling fire. Scenes from the tv series Wolf Hall come to mind (including Debbie Wiseman's brilliant score, which I really like).

My contribution is the final movement of Ravel's trio which I have been listening to recently:


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## SONNET CLV (May 31, 2014)

I was immediately impressed by the musicianship on this Ravel Trio video, and I looked up information on each of the performers, finding out that I should have already made the acquaintance of at least the Russians, pianist (Zlata Chochieva) and the cellist (Nikolay Shugaev), but I don't recall ever hearing anything prior by them. Indeed, when I checked the data base at Discogs where my classical collection is about 80% catalogued I found no discs in my collection featuring any of the performers, including violinist Ermir Abeshi. So, one exciting thing about encountering this particular Trio performance was the opportunity to be introduced to three exciting musicians from which I will enjoy hearing more. Something to look into, and forward to.

Of course, the work is astounding. And it's a delight to see it performed. As I reflect, I realize that the vast majority of musical works I have heard over the years have come via my stereo system, two speakers for my ears, no visual aid. I've listened to many a masterpiece in the dark, an environ that seems to enhance recorded music, blocking out the visual element and allowing the imagination to take over. Of course I've attended concerts and viewed videos and watched musical performances on television over the years, but I've never before "seen" the Ravel Trio performed, and that experience was especially delightful by way of this video. I'm wondering now if the opening movements are available for viewing from these same artists.

I pick up on something that reminds me, in various ways, of the many musical works I've encountered already on this thread. But mainly because the OP remarked about her love for literature, a field I dabbled in for many years. One of the Leonard Bernstein songs from his _Songfest_: "What lips my lips have kissed" on the sonnet by Edna St. Vincent Millay, sung here by Janice Meyerson.






The lyrics:

What lips my lips have kissed, and where, and why,
I have forgotten, and what arms have lain
Under my head till morning; but the rain
Is full of ghosts tonight, that tap and sigh
Upon the glass and listen for reply,
And in my heart there stirs a quiet pain
For unremembered lads that not again
Will turn to me at midnight with a cry.
Thus in the winter stands the lonely tree,
Nor knows what birds have vanished one by one,
Yet knows its boughs more silent than before:
I cannot say what loves have come and gone,
I only know that summer sang in me
A little while, that in me sings no more.


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## Ingélou (Feb 10, 2013)

Thanks, Sonnet CLV. :tiphat:

I hope you don't mind if I ask you to keep your reviews / reveries a bit shorter and also to wait until you have, say, _four_ links for you to review as a collection rather than post after a single go?

Otherwise, I think there's a danger of the 'chain' in the title being obscured for the next player. (Although this isn't a game, it does have a clear format.)

 I do apologise, but it's not till an idea is up and running that one can iron out the wrinkles, as I'm sure you can appreciate.

Thank you & best wishes.

~~~~~~~~~~~~~~~~~~~~

:tiphat: Sid James - thank you for posting.

This was your link in the chain. 

The final movement of Ravel's trio:


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## Taggart (Feb 14, 2013)

The final movement of Ravel's trio






Starts off fairly dreamily and then builds to a racketing conclusion. I find this somewhat unsatisfactory in that the piano tends to dominate and there is not enough interplay with the other instruments.

Erik Satie Trois Gymnopedies






These are gentle yet somewhat eccentric pieces - short and atmospheric. I played one as a pedal exercise because the harmonies (such as they are) need to be supported by accurate use of the sustain pedal. It's interesting to play music with so little formal structure. Fascinating to revisit them, but really music to play rather than listen to.


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## Ingélou (Feb 10, 2013)

Erik Satie Trois Gymnopedies

I love this. I got to know it when Taggart was practising it. I am not totally a piano fan but this piece brings out for me the best sound a piano can be. I love the melody and I love the thoughtful pace and pauses. Very evocative.

Mahler - Quartet for Piano and Strings in A minor - Allegro (Borodin String Quartet)

This was recommended to me by Skilmarilion. Following up a remark on the YouTube video today, I found out from Wiki that 
*Mahler began work on the Piano Quartet in A minor towards the end of his first year at the Vienna Conservatory, when he was around 15 or 16 years of age. The piece had its first performance on July 10, 1876, at the conservatory with Mahler at the piano, but it is unclear from surviving documentation whether the quartet was complete at this time. *






What beautiful sounds from the different instruments blending - especially the 'feeling' tone of the violin. Pensive & triste, and I appreciated the way the piece develops. I can't remember ever actually trying this one, but I really like it. And the composer was so young - wow!


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## Art Rock (Nov 28, 2009)

Mahler - Quartet for Piano and Strings in A minor - Allegro

By sheer coincidence I just listened to this Mahler piece a few hours before you posted it. It is wonderful music, such a pity that he never tried his hand on chamber music again. It was also used to good effect in the movie Shutter Island.

Alphons Diepenbrock - Ouverture "De Vogels" (The Birds) 1917






Diepenbrock (1862-1921) is easily one of the most interesting Dutch composers. He combined influences of German late romanticism and French impressionism.


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## Sid James (Feb 7, 2009)

Thank you Art Rock. I like Richard Strauss' tone poems of the same length (e.g. Till Eulenspiegel) so I enjoyed the Diepenbrock. The writing for wind instruments was a highlight.

Next, a short piece for flute and harp. It is *Godard's Allegretto* (from the Suite Op. 116) which I have been listening to on this album:

[video=youtube;XNOcPUmkc5s]https://www.youtube.com/watch?v=XNOcPUmkc5s[/url][/video]


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## Taggart (Feb 14, 2013)

Godard's Allegretto (from the Suite Op. 116)

The CD cover talks of the romance of the flute and harp and they're certainly having a lovely conversation here. A delightful piece of music.

*Francisco Tarrega - Alborada*






A little bagatelle by Tarrega - the fhe father of classical guitar. He's better known for the Recuerdos de la Alhambra. This piece about a music box is a gem demonstrating what the guitar can do. Lovely.


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## Ingélou (Feb 10, 2013)

*Francisco Tarrega - Alborada*

A favourite in our family - my mother's vinyl LP had it as a 'filler' for Rodrigo's Concierto de Aranjuez. It's just exquisite! :kiss:

*Robert Moran: L'apres-midi du Dracoula (1966)*






I found this a very challenging listen. The reason I posted it is that I was looking for another piece by the same composer - I love a piece by Robert Moran recommended by PetrB and entitled Requiem: Chant du Cygne. Although it too is strange, I find the Chant du Cygne very atmospheric & it makes me think about the nature of sounds and the emotions they evoke. PetrB knew that I would like it, even though it doesn't exactly have a tune!  
I would have put Chant du Cygne up, but it's over the time limit of 20 minutes.

This Robert Moran piece I don't like, though it is interesting. There are shrieks and creaks and sounds of distress but also industrial noises and it is clever and makes me feel uneasy, which I'm presuming, maybe wrongly, is how I'm meant to feel. It does make me think about the nature of cruelty and exploitation. 
It's music for a chamber orchestra and percussion ensemble, but I'd never have guessed. 
It is not my cup of tea but I can see that there is art in composing it. How about you?


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## Sid James (Feb 7, 2009)

Thank you Ingelou, I listened to *Moran's Dracoula* piece in its entirety. My reaction to it more or less matches yours.

Next up, I thought I'd follow with another composer who also did extensive work with microtonality, *Peter Sculthorpe*, although *Night Song* is one of his more conventional pieces. It was originally written as a symphonic rock song, but is here played in an orchestral arrangement. I remember Art Rock as having expressed admiration for Sculthorpe's music.


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## SeptimalTritone (Jul 7, 2014)

Re the Robert Moran piece form Ingelou: I loved it! I can understand why someone wouldn't like it, but since I loved it so much I would make a suggestion to Ingelou/Sid James/anyone else who would want to tackle it so that it goes down easier.

I think that, through our shared culture, we commonly associate certain kinds of sounds with certain scenarios, and I could totally see why this piece would invoke mental images of industry/factories or even animal-like sounds, which of course has associations with "cruelty and exploitation": because that's what indeed went on in history since the industrial revolution.

But I would encourage listening to it on its own terms, as its own sound world, because the music in itself transcends those scenarios. In this work, the interplay of sounds, the textures, the resonance, the percusiveness all create something really engaging and active. The work has a trajectory, albeit not the usual common practice trajectory of baseline-driven harmonic push or thematic/melodic development. And this trajectory makes this piece more than a situational evocation.

The music is much more of an abstract Rorschach blot. I could easily imagine some more positive scenario - perhaps a surreal natural/industrial ecosystem in ecstatic growth and excitement. But that is also a tangential reaction that the piece as music transcends.

---

Re the Peter Sculthorpe piece from Sid James: I enjoyed this as well, it is more conventional but I liked the string textures and harmonies. Very melancholic.

---

Maryanne Amacher: Living Sound 



 (1980) for sound-joined rooms. I think that this soundscape - a harmonic pitch-centered soundscape (!) is simply ecstatic. This is exciting music.


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## SONNET CLV (May 31, 2014)

Ingélou said:


> Thanks, Sonnet CLV. :tiphat:
> 
> I hope you don't mind if I ask you to keep your reviews / reveries a bit shorter and also to wait until you have, say, _four_ links for you to review as a collection rather than post after a single go?
> 
> Otherwise, I think there's a danger of the 'chain' in the title being obscured for the next player. (Although this isn't a game, it does have a clear format.)...


Actually, I was commenting upon the Ravel Trio and adding the Bernstein song to the chain. Obviously I was not clear in my intention. A result of old age, possibly. Skills are weakening at every port. More likely, though, the confusion resulted from my lack of talent with games in general, which I play even more badly than I do musical instruments. Which is why I make a sounder listener than sound producer. (A "friend" just today remarked that I am a pleasure to talk to, his implication being that I am a pain to listen to when I do the talking.) I, too, apologize.


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## Ingélou (Feb 10, 2013)

SONNET CLV said:


> Actually, I was commenting upon the Ravel Trio and adding the Bernstein song to the chain. Obviously I was not clear in my intention. A result of old age, possibly. *Skills are weakening at every port.* More likely, though, the confusion resulted from my lack of talent with games in general, which I play even more badly than I do musical instruments. Which is why I make a sounder listener than sound producer. (A "friend" just today remarked that I am a pleasure to talk to, his implication being that I am a pain to listen to when I do the talking.) I, too, apologize.


Join the club! :tiphat:

I did wonder about the Bernstein, but you'd said earlier that you would only be commenting not joining in the format, and you hadn't flagged up the piece with a heading. I'll review it now, then.

Sorry! By all means, join in if you'd like, and welcome. 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
*Bernstein: Songfest 5/6 Song 11
*
https://artsfuse.org/135765/rethinking-the-repertoire-5-leonard-bernsteins-songfest/





This wasn't really for me, but I enjoyed the opportunity of listening, as I've never listened to Bernstein before, so it was broadening my horizons. Partly it was the singer's voice, which I thought a bit heavy and warbling. I found the wind-instruments' dissonant commentary very dismal, though of course it fitted the mood of the sonnet. 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~



SeptimalTritone said:


> I think that, through our shared culture, we commonly associate certain kinds of sounds with certain scenarios, and I could totally see why this piece would invoke mental images of industry/factories or even animal-like sounds, which of course has associations with "cruelty and exploitation": because that's what indeed went on in history since the industrial revolution.
> 
> But I would encourage listening to it on its own terms...


Guilty, m'lud. I was trying to find meaning in the piece and using its title, which I took to mean 'Dracula's afternoon', though I can't find that Dracoula and Dracula are the same when I google it, so maybe it was a hideous mistake. 

I did listen to Moran's Requiem: Chant du Cygne on its own terms - but then the sounds were so much more attractive!

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Next Up: Maryanne Amacher: Living Sound 



 (1980) for sound-joined rooms.

Septimal Tritone's Review: I think that this soundscape - a harmonic pitch-centered soundscape (!) is simply ecstatic. This is exciting music.


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## Portamento (Dec 8, 2016)

*Amacher: Living Sound*

I've heard _of_ Amacher before, mainly due to her connection with John Cage and influence on improviser-composer Anthony Braxton. Never heard - or is "experienced" the right word? - her music before.... What the hell was that? In a good way, though! Holy crap. It's super unique, and my ears are still tingling (hopefully that stops soon :lol. As per Wikipedia, I take it she deals with psychoacoustic phenomena called "auditory distortion products"? I'll have to do some reading up, but that was great - thanks for sharing Septimal Tritone.

*Kagel: An Tasten*






^ I hope this video is available for you EU folks. There are some other ones on YouTube otherwise.

Kagel is usually known as an avant-gardist, but by the '70s he'd moved on and was writing some very interesting "tonal but not really" works. (Not that the avant-garde works aren't great, but _An Tasten_ is from this latter period.) It's a piano etude of sorts, being based on repetitive Czerny-like studies. The music is anything but boring, though. Check it out!

I don't know what the situation in Europe is like, but Kagel is almost never talked about in the US. A real shame.


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## Taggart (Feb 14, 2013)

*Kagel: An Tasten*

This had a pleasing quality of sound, but I see what you mean by repetitive. I couldn't really get into this. I found the pace slow and dreamy. For me it lacked shape but was an interesting ramble over the keys. Thanks for this :tiphat:

*Felix Mendelssohn-Bartholdy: Two Venetian Boat Songs*






I had to play this for one of my piano exams. A nice exercise in tone, hand balance and pedal to bring out the effect of a gondola trip. These barcaroles with their gently swaying rhythm suggesting the swing of the oars are a beautiful example of Mendelssohn's work.


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## Kjetil Heggelund (Jan 4, 2016)

AH! Mendelssohn! His music I like!! Full of positive energy, even in slower music 

Here is "my piece". I've been practicing this off and on since I got the score around 1990, but never dared to perform live. One lucky day maybe! (I have to play it better than this guy!) One of my favorite pieces for guitar! 1st mvt. is inspired by Bach, 2nd mvt. Denisov special and 3rd is Spain (tiny hint of Bach theme).


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## Ingélou (Feb 10, 2013)

*Edison Denisov - Guitar Sonata*

 I'm ashamed to say that I had not heard of Denisov. I love the sound of the guitar and I think this is a gorgeous virtuoso piece. The first movement,Toccata, is an exciting cascade; the second, 'Berceuse' more thoughtful, slightly dissonant, exploring the notes; the third movement, Souvenir d'Espagne, captures the Hispanic Flavour with a twist of lemony jazz. Twangly Heaven. I love it! Thanks for posting and good luck with your playing. :tiphat:

*Ferrucio Busoni - Elegy No. 4 'Turandots Frauengemach' *

This was recommended to me some years ago by Nereffid. I love it - it treats the theme of Greensleeves so jauntily that it's irresistible. Great playing, and so clever. Lovely!


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## Ingélou (Feb 10, 2013)

I feel sure that this thread is a horse that won't run, but it was worth trying, I've enjoyed the pieces that people have put up and I thank everyone for taking part. :tiphat:

However - it doesn't help that I forgot to put up the link for my last entry in the chain! My bad! 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

*Ferrucio Busoni - Elegy No. 4 'Turandots Frauengemach'*

This was recommended to me some years ago by Nereffid. I love it - it treats the theme of Greensleeves so jauntily that it's irresistible. Great playing, and so clever. Lovely!


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## Taggart (Feb 14, 2013)

*Ferrucio Busoni - Elegy No. 4 'Turandots Frauengemach'*

Lovely romp through the Greensleeves theme. Supposedly composed by Henry VIII, but based on an ostinatto that is later (1570s probably) . Delightful piece and a joy to listen to.

*Liszt - La romanesca*






This is a bit of a cheat. The Romanesca is a late sixteenth century chord progression which is used for Greensleeves. Here Liszt takes it back to its roots as a Spanish dance tune. This performance has a lovely Spanish feel to it. Nice to find a tune sounding so lively after 400 years.


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## Sid James (Feb 7, 2009)

Thank you Taggart, for introducing Liszt's Romanesca. I tend to enjoy the gentler side of Liszt's piano music, so I enjoyed this. It made me think of The Years of Pilgrimage series.

Next up, keeping to the Spanish theme:

*Granados - Intermezzo from Goysecas (arr. for piano trio by Gaspar Cassado)*


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## Malx (Jun 18, 2017)

Sid James said:


> Thank you Taggart, for introducing Liszt's Romanesca. I tend to enjoy the gentler side of Liszt's piano music, so I enjoyed this. It made me think of The Years of Pilgrimage series.
> 
> Next up, keeping to the Spanish theme:
> 
> *Granados - Intermezzo from Goysecas (arr. for piano trio by Gaspar Cassado)*


I thought I'd try and get involved.

I found the Piano Trio arrangement of the Granados interesting but perhaps just down to familiarity with the original it sounded a little contrived, if thats the correct description - but I'm glad to have made its acquaintance.

Thanks Sid.

My choice is a piece that is very modern but may appeal to those who enjoy all types of music. It is a work by *Helena Tulve called Silmaja* this is a version featuring *Anna-Liisa Eller playing the kannel / Estonian zither.*


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## SeptimalTritone (Jul 7, 2014)

^ Liked the instrumental colors and harmonies of the Tulve zither work! Enjoyed the glissando sections too.

Franco Donatoni - Etwas Ruhiger im Ausdruck 



 (1967) a chamber ensemble piece.

Donatoni was one of the Darmstadt guys, but I don't think he's as well known as Boulez, Stockhausen, Nono, Maderna, etc. But his music is top-notch. This work is is gestural - gentle and accessible gestures. As the work progresses, it picks up in density, reaching a high point in the middle where the music becomes more continuous rather than gestural, and then gradually winds down in the last third of the work. There's a great control of rhythm with complex polyrhythms constantly intersecting, but the effect is still chamber-like where the ear can pick up every voice, not orchestral-like where the ear hears a massed blur.

This piece has shades of humour, at least to me.


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## Malx (Jun 18, 2017)

There you go :tiphat:


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## Sid James (Feb 7, 2009)

Thank you SeptimalTritone for the Donatoni piece, I read up a bit on him and found out that the starting point for Etwas Ruhiger... was a piano piece by Schoenberg. The sounds bear similarity to Pierrot Lunaire, but also other pieces I know by Messiaen and Ligeti.

In that regards here's *Un sourire* (A smile) by *Messiaen*. Composed for Mozart's anniversary in 1991, it aims not to imitate Mozart's style but to suggest the playfulness which is a trademark of his music.


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## Ingélou (Feb 10, 2013)

*Messaien: Un Sourire*
I liked this, but particularly the beautiful slow harmonies - I found the playful irruptions rather tiresome. Messaien's life is so interesting, with his Catholicism and sad experiences, that I'd really like to like him, but mostly can't - so this was a pleasant surprise. Thank you, Sid James

*Locatelli, Violin Concerto No.1 in D major, 1st mov〈The Art of Violin〉Op.3 (Giuliano Carmignola)
*Recommended on Norwich Baroque's Facebook Page - inspiriting exciting music that shows what a violin can do. Like a bird carolling its heart out while flying fast. Yes, it's got a number of baroque cliches in it, but I still love it.


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## UrbanK (Sep 10, 2016)

*Locatelli, Violin Concerto No.1 in D major, 1st mov*
I had to get used to the sound of a baroque orchestra accompaniment again, but after a couple of listens I could appreciate how it inter-played with the virtuosic chirping of violin. The solo violin accompanying itself is also always enjoyable and interesting to see how the performer chooses to bring out the line. As expected, the 2nd movement is one of those nice baroque largos.

*Boris Tishchenko - To My Brother, Op. 98 (1986)*
I found this piece by clicking out of curiosity about how the sheet music in the thumbnail is performed. However, I got much more than I bargained for. A really beautiful and deeply felt Russian art song which brings quite a stark piece of text into the world of music. Starts with a harp accompanying a haunting melody on the flute which is later joined by at least equally haunting singing.


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## Sid James (Feb 7, 2009)

Thank you UrbanK. I've recently been listening to an album of music for flute and harp which I posted earlier. Taggart compared it to a conversation between the two instruments. Well, in To My Brother, it kind of became a conversation between three. Haunting as you say, and I also felt it went beyond that into darker territory.

Keeping with the Russian theme, more music I've recently been listening to, *Tchaikovsky's Serenade for Strings*. Here the *final movement*, a blend of Classicism and Russian vigour.


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## Taggart (Feb 14, 2013)

*Tchaikovsky's Serenade for Strings - the final movement.
*

Gorgeous driving music. Real sense of vigour. A lovely piece - thanks :tiphat:

*Boccherini Fandango* - the fourth movement from Boccherini's Guitar Quintet G. 448 in D Major.






A popular 18th century dance tune here used as part of his guitar concerto by Boccherini. Full of Spanish vigour and accompanied by a dancer with castanets. Certainly gets the toes tapping.


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## Art Rock (Nov 28, 2009)

Boccherini Fandango - the fourth movement from Boccherini's Guitar Quintet G. 448 in D Major.

I actually have this on CD (Yepes and Melos Quartett, DG), but it's been quite a while since I played it. The castanets is a nice touch, and he certainly manages to create a Spanish atmosphere here. I like the addition of a (flamenco?) dancer in the video. It is not music I will go back to often, but it is definitely fun to hear it once in a while. Good choice.

Fauré - Nocturne No. 6 in D-Flat Major, Op. 63 (1894)






Nocturnes for piano are usually associated with Chopin or with the inventor of the genre, Field. Gabriel Fauré also left us with a beautiful set of these pieces. The 6th is probably the most famous one.


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## Taggart (Feb 14, 2013)

*Fauré - Nocturne No. 6 in D-Flat Major, Op. 63 (1894)*

A delightful little nocturne. Lovely swooshing sounds in the middle section. Dreamy and elegant. Thanks for recommending this one. :tiphat:

*Bertali - Ciaconna*






A lovely spritely piece performed by Catham Baroque. Bertali (1605-1669) was an Italian composed and violinist and this shows his spirited writing for the violin accompanied by continuo. An excellent composition that sets the toes tapping.


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## Sid James (Feb 7, 2009)

*Bertali - Ciaconna*

Thank you Taggart, spirited indeed. Also life affirming, bouncy and earthy.

*Faure - Sicilienne*

I also listened to the Nocturne by Faure posted by Art Rock. Apart from the Requiem, I only know a handful of pieces by him. This one is on Laurindo Almeida's "Duets with the Spanish Guitar" album which I used to have on vinyl. It also has the famous Pavane.


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## Ingélou (Feb 10, 2013)

*Faure - Sicilienne*

This is delightful. I know very little of Faure but whenever I listen to him, I like his work. This has a calm beauty all its own. Thank you for posting.

*Louise Farrenc (1804-1875) Trio for clarinet, violoncello and piano op.44, IV. Finale: Allegro*






I found this while searching for women composers of the nineteenth century. I was interested to read about her life, where she didn't get quite the musical success she deserved - that had to wait till the late twentieth century - though she was an excellent teacher of Piano at the Paris Conservatory. 
https://en.wikipedia.org/wiki/Louise_Farrenc

I liked it - the instruments blended well, it developed well, was tuneful, and lively. But maybe a bit predictable, which set me thinking about women musicians and composers before the twentieth century - about whether they had to do 'as well as a man' and not be too original or it would be seen as outre & confirmation that they should have stuck to their domestic duties. But of course, many men composers who had families to support wouldn't have been able to afford originality either.


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## Taggart (Feb 14, 2013)

*Louise Farrenc (1804-1875) Trio for clarinet, violoncello and piano op.44, IV. Finale: Allegro*

Nice tuneful piece. Lovely conversation between the instruments. Develops well and has a good finish.

*Manuel de Falla: Serenata Andaluza*






A gentle piece evoking the spirit of Andalucia. This is an early work (1900) from De Falla's time at the _Real Conservatorio de Música y Declamación_ where he studied composition with Felip Pedrell who made many composers aware of Spanish folklore.


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## Ingélou (Feb 10, 2013)

*Manuel de Falla: Serenata Andaluza*

This is lovely - very evocative piano sounds - Spanish flavours - and I like it. It develops, and I can live in it. Thanks, Taggart.

*Jonathan Harvey - Tombeau de Messiaen (1994)*

I decided to look for some 21st century composers and found Jonathan Harvey. I knew nothing about him, but read him up in Wiki: https://en.wikipedia.org/wiki/Jonathan_Harvey_(composer)
It seems sad that no sooner am I aware of his existence, than I find out that he has died.






Oddly, because normally I like 'music with a tune', I really liked this one. I think it's that the sounds are so attractive in themselves. I used to play about with my Granny's piano, but even I can tell that this composition is artful compared with my meanderings. A pleasant surprise - it seems to get to the very soul of the piano and what it's capable of.

'Tombeau de Messaien' - but I couldn't begin to say why the title is apposite. I hope someone else will.


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## Sid James (Feb 7, 2009)

*Jonathan Harvey - Tombeau de Messiaen (1994)*

Thank you, Ingelou. I was okay until the last bit where he ramped up the volume. The very end reminded me of one of Ligeti's etudes (probably Autumn in Warsaw). Since Messiaen died in 1992, the Harvey piece might have been written in his memory?

*Ross Bolleter - Five Short Ruins*

The Harvey piece made me think of Bolleter, who has a property in Western Australia where he keeps retired pianos in various states of ruin. His specialty is composing music for them. This is totally weird, and he goes one up on Jimi Hendrix by not only burning his instrument, but playing on it too. See what you think.


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## Ingélou (Feb 10, 2013)

*Ross Bolleter - Five Short Ruins*

Funny & interesting - somehow, the more ruined the piano, the more the sounds held my interest! I loved it when he plucked the strings like a harp. After a while, I began to feel sorry for the pianos; still, it made me reflect on age and death... 

*Baldassare Galuppi - SONATA No. 5 in C major [by Vadim Chaimovich]*

I came across this in my researches for my project, listening to every one of the composers on the Wiki short list of baroque composers.






Normally I prefer baroque music played on harpsichord, not piano. But this was fab.

I like the first half especially: something here - maybe the pianist's treatment of the rhythm - made it sound reflective and modern (meta-baroque?) rather than prim and historical.

The faster movement at the end is more conventional but still a lovely contrast between a 'modern' jaunty piano style and a baroque style of writing.


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## Taggart (Feb 14, 2013)

*Baldassare Galuppi - SONATA No. 5 in C major [by Vadim Chaimovich]*

Very nice. The pianist is using a steady left hand accompaniment to balance a more relaxed right hand melody. The andante is very legato. As he moves into the allegro, the left hand becomes slightly more detached and enters into a conversation with the right hand which is playing sprigs of notes. The final vivace section is excellent - lovely balance between the hands. A delightful piece.

*Rodrigo - Concierto Serenata Para Arpa Y Orquesta - Sarao, Allegro deciso*






The third movement of Rodrigo's Concierto Serenata for harp and orchestra written for Nicanor Zabaleta (who performs here) the Spanish harpist. A lovely piece redolent with Spanish colour. The harp adds its own delicacy to the work.


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## Sid James (Feb 7, 2009)

*Rodrigo - Concierto Serenata Para Arpa Y Orquesta - Sarao, Allegro deciso*

Thank you, Taggart. I've got that exact recording, coupled with the Aranjuez and Castelnuovo-Tedesco concerto. I also like the vibrancy and subtlety of this music, and its sense of quirkiness too. His music is like a finely crafted gem.

*Rodrigo - Invocacion y Danza*

Your post prompted me to return to a book I read last year, _Practicing: A Musician's Return to Music_ by Glenn Kurtz. The author is a guitarist, the book is a memoir and it mentions a lot of music which I haven't heard. He goes into depth about this Rodrigo solo guitar piece:

_"Invocacion y Danza," by contrast [to Concierto de Aranjuez) is not well known. Although it shares the Concierto's flamenco rhythms, this is guitarist's music, rarely performed, almost a secret. This music is unsettling, its mood always shifting, by turns mischievous, vibrant, seething, eerie, elated. I sense a dark vitality in these shifts, something in the depths that needs this music to be heard. But the music is very demanding, calling out extremes of feeling and technique at the edge of my ability to hold together. It will be a reach for me._

This must be the first solo guitar piece I've heard by Rodrigo. I can hear that sense of struggle between passion and restraint, it is palpable and very exciting. It reminds me of some of Castelnuovo-Tedesco's solo pieces.


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## Ingélou (Feb 10, 2013)

*Rodrigo - Invocacion y Danza*

This is lovely - edgy, complex, intriguing. It had elements of another piece by Rodrigo (don't remember the name) that we had on a family LP by Narcisco Yepes and got to know well - I'm presuming the composer liked to give similar themes a different treatment - but the piece on our LP was much more conventional and charming. This one has bite. Thank you for sharing.

*Francesca Caccini, 'Romanesca', Instrumental (Il primo libro delle Musiche)
*
https://en.wikipedia.org/wiki/Francesca_Caccini






I thought I'd look at the 'off-piste' baroque composers that I sampled as part of my Baroque Listening Project, and found this on YouTube. I love it - it has that lithe and vive yet reflective quality that I find in Baroque Music.


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## Taggart (Feb 14, 2013)

*Francesca Caccini, 'Romanesca', Instrumental (Il primo libro delle Musiche)*

A beautiful piece. More in Roman style than an ostinato on the romanesco pattern. Lovely use of textures.

*Dimitri Shostakovich - Tahiti Trot *






A novelty piece written for a bet in 1927. This shows Shostakovich's musical memory and command of a range of musical styles. Although it's a nice 1920's tune, there are all sorts of influences showing in this. A bagatelle, but a delightful one.


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## Sid James (Feb 7, 2009)

*Dimitri Shostakovich - Tahiti Trot*

Thank you Taggart, I'm familiar with that one and I love it. I enjoy light classical in general, so I'm posting this one. This is my favourite track on this album.

*Trevor Duncan - The Girl from Corsica*


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## Ingélou (Feb 10, 2013)

*Trevor Duncan - The Girl from Corsica*
Evocative - lovely melody - slight touch of mystery - what's not to like? 

*Aisling Gheal: Bright Vision of Ireland - sung by Iarla Ó Lionáird* (when he was a lad of fourteen!)






Traditional Gaelic Sean Nos Song
https://en.wikipedia.org/wiki/Sean-nós_song
- so far above what one normally thinks of as 'folk' and I think its art and beauty entitles it to a place in 'Classical Music', just as a medieval love song or bit of plainchant would have.

This is just so beautiful and eerie - gives me gooseflesh.


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## Sid James (Feb 7, 2009)

*Aisling Gheal: Bright Vision of Ireland - sung by Iarla Ó Lionáird
*
Thank you Ingelou, I had the same reaction, got into a bit of a meditative state while listening.

*Hamilton Harty - Piano Concerto (III. Con brio e vivace)
*
I thought I'd follow with something that has an Irish brogue, so to speak. Harty might still be known for his orchestrations of Handel which, along the same lines as Stokowski's Bach, cast a fresh light onto Baroque music during the period. His reputation stretched beyond that, as a conductor (he premiered Walton's Symphony #1) and composer. His Piano Concerto bears influences of Grieg and Rachmaninov, and its dazzling final movement is my favourite part. Its jaunty rhythms make me think of Percy Grainger's folk song arrangements.


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## Taggart (Feb 14, 2013)

*Hamilton Harty - Piano Concerto (III. Con brio e vivace)*

Like many composers of this period, Harty had a keen interest in folk music. He was never able to make a commercial success of it, however, and reverted to more traditional music. This finale has some lovely swooping moments interspersed with pastoral element and swinging folk rhythms. A very nice piece.

*W. A. Mozart - KV 224 (241a) - Church Sonata No. 7 in F major*






The church sonatas are short devotional pieces written to be played between the epistle and gospel. No. 7 is _allegro con spirito_ and lives up to that description. A nice interplay of instruments and some fine solo work. A delightful piece.


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## Ingélou (Feb 10, 2013)

*W. A. Mozart - KV 224 (241a) - Church Sonata No. 7 in F major*

Gracious and elegant - impossible to dislike, though its regularity and serene mood don't greatly appeal and will make it instantly forgettable - but then so much of my life is, these days! 

*Antonio Salieri: Ouverture to Les Danaïdes*






I liked the brooding opening, and the preview of opera tunes and themes provides variation and relish. It's competent rather than inspiring, but I'm sure, if I ever got a chance to watch the opera, I'd enjoy it.


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## Sid James (Feb 7, 2009)

*Antonio Salieri: Ouverture to Les Danaïdes*

Thank you Ingelou, my reaction is more the less equal to yours. I haven't heard too much of Salieri's music, although of course know of him through the Amadeus movie. Whether or not its fair, I think perhaps most will remember him for that.

*Bernstein - Prelude, Fugue and Riffs (arr. Eric Crees)*

I thought of putting Bernstein's overture to West Side Story as a contrast to the Salieri, but decided on this instead. Bernstein wrote a number of classical-jazz fusion type works, and this is one of the most well known. Short, sweet and quite groovy. Although it was written for Woody Herman it ended up being premiered by Benny Goodman.

*Quite brassy in parts so I advise you start playing it on low volume.


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## Taggart (Feb 14, 2013)

_*Bernstein - Prelude, Fugue and Riffs (arr. Eric Crees)*_

Very brassy. While it makes for an energetic piece, I found it difficult to get at the structure. It's more modern jazz rather than something like Gershwin's preludes. Still, a fascinating listen. :tiphat:

*Élisabeth-Claude Jacquet de La Guerre - Sonata n°2 in D major for violin and continuo *






Jacquet de La Guerre is better known for her keyboard works (her father made harpsichords). She went from pure keyboard works to keyboard and violin and finally to violin sonatas. This is a short but delightful piece showing her understanding of the instrument. Beautiful and spritely.


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## Sid James (Feb 7, 2009)

*Élisabeth-Claude Jacquet de La Guerre - Sonata n°2 in D major for violin and continuo*

Thank you Taggart, I also found it beautiful, spritely and also calming. The paintings in the video where a perfect match. It brought to mind the trio sonata from Bach's Musical Offering.

I also don't exactly understand the structure of Bernstein's piece, although I haven't made much of an effort to do so. I guess I just like its blend of the freewheeling quality of jazz within a formal classical structure.

*Ives - Violin Sonata No. 4 (Children's Day at the Camp Meeting) : I. Allegro*

A sonata closer to our own time. I find Ives' smaller scale music less overwhelming than his orchestral works. The two sonatas on this recording have his usual idiosyncratic blend of hymn tunes, folk and ragtime music. This one was inspired by church services during his youth where the organist played and children sang out of tune.


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## Art Rock (Nov 28, 2009)

*Ives - Violin Sonata No. 4 (Children's Day at the Camp Meeting) : I. Allegro*

I like Ives, and I listened to this with a smile on my face. What a delightful piece, a witty idea so well executed. Great choice.






*Jongen - Symphonie Concertante, IV. Toccata - Allegro moderato (1926)*

Belgian composer Joseph Jongen is possibly regarded as a one hit wonder (or even zero hit wonder) based on this work for organ and orchestra that gives Saint-Saens a run for his money. I have 14 CD's of his work, and I think he really deserves to be wider known.


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## Conrad2 (Jan 24, 2021)

Bumping threads may annoy some members and is generally frowned upon, but this seems to be such an interesting game that I think it would be a shame if it continues to be "buried".

Here is OP rule for newcomers:


Ingélou said:


> I shall post a short piece or extract of any type or era of classical music (up to 20 minutes, but preferably shorter). I shall say something about my own response to it.
> 
> The next poster, please, will also say what he or she thinks of the piece I posted, before posting a short musical piece or extract of his or her own, with a comment-response. What you say can be a purely personal response or you could give some opinion or information about more technical musical matters.
> 
> ...


^edited for space

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
* Jongen - Symphonie Concertante, IV. Toccata - Allegro moderato (1926)*

This is my first time listening to this composer, and I'm not really acquainted with the organ. The opening notes of the organ dazzle me as it evokes a sense of grandeur and grace which I'm not accustomed to hear from an organ. It was exhilarating to listen to this. Great choice.

*Rebel: Les Élémens, Simphonie Nouvelle - 1. Le cahos*





Jean-Féry Rebel is a French Baroque composer who came from a musical family and is best known for his dance suites. This ballet, Les elemens, which is composed in 1737 and his most famous work, is based around the concept of the four classical elements of earth, air, fire, and water. Le cahos, the overture to this work, depicts the chaos of creation, and particularly noted for involving all the notes on the harmonic D minor scale. The low strings are thought to represent the earth, while dotted rhythms and flourishes is for fire, the flowing stepwise melodies for water, and high recorder lines for the air to represent the action of creating nature.

From listening to this, I was stuck by how "modern" it sound and awe by its power. If I am using the terminology correctly here, please forgive me if I don't, the work appears to be dissonant as I perceive there are tension between the different layer of the music, where the violent string instruments seem to clash with the heavenly wind instruments, and it feels jarring as it doesn't feel stable to me. A very interesting work, and IMO, one of the pieces I can return to without it feeling stale to me.


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## Art Rock (Nov 28, 2009)

I thought I had broken it. :tiphat:


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## Ingélou (Feb 10, 2013)

Art Rock said:


> I thought I had broken it. :tiphat:


Not at all. It had an extremely limited take-up and Taggart and I felt pressured to keep it going. In the end, I felt that if it didn't attract more interest, it would have to die. Thanks for bumping it, Conrad2, but I fear you'll find that it's flogging a dead horse.

So come on, everybody - prove me wrong... (She added, with a peal of cynical laughter!  )

~~~~~~~~~~~~~~~~~~~~~~~~~~~

*Rebel: Les Élémens, Simphonie Nouvelle - 1. Le cahos*

This is one of my favourite pieces. It's my erstwhile fiddle teacher's favourite, also, which is how I know about it. It has drama and power. The idea is traditional and the use of dissonance is found in other baroque composers, e.g. Biber, but Rebel's harmonies, according to Wiki, did strike the listeners of the time as 'audacious' and many modern listeners, including me and Fiddle Guru, have felt that this speaks to our age.

*Haydn: Trumpet Concerto
*
Wynton Marsalis: 





Alison Balsom:





I came across this because of Bulldog's Concerto Game. I always like the sound of trumpets, and hope it will be part of my heaven, though without the pate de foie gras. One of the later melodies turns out to be one I know intimately - I think it was the signature tune of a radio or TV programme many years ago. 
I love this concerto - it's sometimes serene, sometimes stirring, but always beautiful.


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## Bwv 1080 (Dec 31, 2018)

Ingélou said:


> *Haydn: Trumpet Concerto
> *
> Wynton Marsalis:
> 
> ...


The sound quality on the vids was too low for me, and went with 



its a cool piece though. I love Haydn, though usually go for the symphonies and SQs and leave the concertos to Mozart. Got to have amazing control to nail the trills and faster passages, guessing the trumpet player at the Esterhazy estate has massive chops

Lutoslawski - Chain 3

Thread title made me think of this piece. Chain refers to the sequence of material where each new section takes something from the one previous, but never returns to it after that.


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