Welcome to Classical Music Mayhem!! The multi-media Classical Music Forum.
You are currently viewing our boards as a guest, which gives you access to view the Index and the General Discussion forum. By joining our free community you will have full access to all the forums, you will be able to post topics, communicate privately with other members (PM), respond to polls, upload content, and access many other special features. Registration is fast, simple, and absolutely free, so please, join our community today!
You can log in as soon as you have submitted your registration, no need to wait for email confirmation.
I don't know if anyone have seen this ad before, I thought it was charming and beautiful!
It's in German, but it's subtitled.
Just imagine....
iPod meet Mozart:
_________________ "This E is very forced. One can see that it was written only to go from one consonance to another in parallel motion, --just as bad poets write nonsense for the sake of a rhyme." --WOLFGANG AMADEUS MOZART--
Brilliant! I was just talking the other day with a pianist friend of mine about his difficulties dealing with pieces by Rachmaninov requiring huge stretches. I'll suggest this solution to him.
_________________ "To burn always with this hard, gem-like flame, to maintain this ecstasy, is success in life. " - Walter Pater
after listening to the whole series of Cherubini's string quartets, I remebered that the only other great string quartet* by an Italian composer of the XIX century I know is Verdi's Quartet in e minor. It's the only one important chamber work by Verdi. or better: the only instrumental work (apart from Opera Ouvertures and Ballets) he wrote in his mature age. It was written, if I'm not mistaken, about 1870 (at the time of "Aida").
I haven't any recording of this beautiful work (a remarkable lack in my collection!), and so I searched the tube for some clips. The best one I found is this one of the first movement:
there is also a complete series of the four movements by the Oberon String Quartet (not good audio quality)
with a special reccomandation and dedication for Sorin, and for all the partecipants to his thread about Cherubini's quartets
* Not taking into account: Rossini's six "Sonate a quattro": indeed they are quite good, as exercises of composition by a precocious boy of 12, but imho nothing more; nor Paganini's "pseudo-quartets": they are really "chamber violin concertos": the prevalence of the first violin is too much overwhelming.
Users browsing this forum: No registered users and 0 guests
You cannot post new topics in this forum You cannot reply to topics in this forum You cannot edit your posts in this forum You cannot delete your posts in this forum You cannot post attachments in this forum