Friday, October 8, 2021
Rhapsody on a Theme of Paganini by Serge Rachmaninoff - Conductor Horst-Hans Bäcker
Thursday, October 7, 2021
10 pieces of classical music perfect for exercise
Work up a sweat with our soundtrack of invigorating classical melodies.
Classical music can be an overlooked genre when picking a workout playlist.
But with its pacy tempos, stirring melodies and inspiring instrumentals, there’s plenty of music to get the adrenaline pumping and put you in the frame of mind for a run, swim, climb or gym session.
So, fasten your laces, start the stretching, and... da capo!
The Marriage of Figaro Overture – Mozart
The Overture to ’s operatic masterpiece The Marriage of Figaro is the first musical pitstop on our list, its lively opening – an infectious, and gloriously uplifting affair led by the strings and winds – leaving its listener somewhat breathless, and lending itself perfectly to a high-energy bout of exercise.
Chariots of Fire – Vangelis
Used to score the rivalry between two athletes at the 1924 Olympics in Hugh Hudson’s film of the same name, Vangelis’ Chariots of Fire score has become synonymous with sport – namely, any slow-motion running sequences.
You might just be jogging a lap of the local park, but with Vangelis’ stirring synthesisers and percussion, you’ll be transported to an Olympics track, moments from the finishing line.
Fanfare for the Common Man – Copland
In need of some rousing encouragement before you work up a sweat? has you covered with his ‘Fanfare for the Common Man’ which with its iconic brass fanfare and thundering timpani, is certain to inspire some pre-workout motivation.
For added drama, save the piece for the exact moment you reach the summit of a mountain, and indulge in the sound of victory.
1812 Overture finale – Tchaikovsky
No, it isn’t just the exercise that’s got your heart racing – the brass fanfare finale of Tchaikovsky’s 1812 Overture, a longtime favourite in the Classic FM Hall of Fame, has just begun.
If your motivation is waning, the composer’s booming cannons and crashing cymbals are sure to help. Ready for another lap of that running track now?
William Tell Overture – Rossini
We can’t imagine a more appropriate piece of music to get you over a finish line than ’s Overture to his opera William Tell. The finale’s iconic, galloping climax, with its trumpet fanfare and racing lines in the string section, is the perfect piece to pop an extra spring in your step, or give you that final push.
The Four Seasons, Spring – Vivaldi
As winter emerges, the colder nights and mornings can put a dampener on anyone’s good intentions in the exercise department – but fear not, for is here to bring warmth, sunshine and merriness in abundance to your workout, with ‘Spring’ from his Four Seasons.
The composer’s masterpiece has all the makings of a motivational piece: sprightly strings and a timeless, inspiring melody.
Conga del Fuego – Márquez
Frantic and furious in equal measure, Mexican composer Arturo Márquez’s ‘Conga’ is a joyous affair of syncopated Latin-American rhythms and spirited strings, sure to add a little pace to your practice – of the musical or physical persuasion.
Carmen Prelude – Bizet
is waiting in line to give you a good old musical leg-up to get out of your chair and onto the track, with the infectious ‘Overture’ to his opera Carmen. But there’s no time for a warm-up with this, as Bizet throws us straight into a sea of exhilarating strings and winds, and crashing percussion.
Violin Concerto No. 9 in G Major, Op. 8 – Joseph Bologne
Run, skip, jump and swim to Joseph Boulogne’s sprightly Violin Concerto No.9 in G Major. The 18th-century composer’s piece provides a magnificent burst of energy, with its pacy strings and stimulating melody.
I Giorni – Einaudi
If yoga or pilates is your preference, or perhaps you’re searching for some musical cool-down company: look no further. Much of Einaudi’s repertoire can provide a moment of musical respite, but ‘I Giorni’ has an especially soothing quality to match slower movement, and provide room for contemplation.
After the liveliness of Copland and Mozart, here’s a much-needed breather...
(C) 2021 by ClassicFM London
Tuesday, October 5, 2021
Nine unexpected uses of Tchaikovsky’s ‘The Nutcracker’
How Tchaikovsky's ballet crops up here, there and everywhere in popular culture...
Fantasia (1940)
As well as mop-wielding Mickey Mouse, Disney’s feature-length cartoon has a gorgeously animated section devoted to The Nutcracker, including music from the Sugar-Plum Fairy, the Arabian Dance, the Russian Trepak and the Waltz of the Flowers.
Barbie in the Nutcracker (2001)
Further cinematic Nutcracker delights, as a computer-animated Barbie embarks on a ballet adventure. It is, needless to say, all very pink, though our heroine does dance a neat little Sugar-Plum Fairy routine.
The Simpsons Christmas Stories (2005)
‘I hope I never hear that God-awful Nutcracker music again,’ complains a typically grumpy Homer Simpson. And guess what comes next? Yup, the Simpsons cast sings a Christmas medley to the tune of the Act I March.
Duke Ellington’s The Nutcracker Suite (1960)
Few musicians have fused the worlds of classical and jazz as sublimely as The Duke, whose 1960 take on Tchaikovsky comes complete with natty titles such as ‘Sugar Rum Cherry’ and ‘Toot Toot Tootie Toot’.
- 25 greatest jazz saxophonists of all time
- 28 best ever jazz pianists
- The best recordings of Tchaikovsky’s Violin Concerto
Nut Rocker (1962)
Two years after Duke Ellington, American rockers B. Bumble & the Stingers were inspired to create their own high-octane arrangement of The Nutcracker’s March, a version that’s been covered by Emerson, Lake and Palmer, among others.
Nutcracker (1982)
Joan Collins is in quintessentially sassy form in this splendidly awful British film about a Russian ballerina defecting to the west. Finola Hughes is the dancer in question.
Cadbury’s Fruit & Nut Advert (1976 etc)
From Frank Muir pootling around in a punt in 1976 to a 1980s office worker being serenaded by a singing chocolate bar and her hunky-chunky almonds, Cadbury’s brilliant ad campaign had us all singing ‘Everyone’s a Fruit and Nut case’ to the Dance of the Reed Pipes.
Tetris (1989)
Block-dropping fun galore, as the Nintendo Gameboy version of this ultra-popular game was accompanied by The Nutcracker’s ‘Trepak’.
Forgotten Pianists: Jorge Bolet
By Anson Yeung, Interlude
Jorge Bolet © Radio King
To say that Jorge Bolet (1914 – 1990) is “forgotten” may not be entirely correct, but he is certainly one of the most underrated pianists of the 20th century. Born in Havana, Bolet gave his first public performance at 9 and enrolled at the Curtis Institute of Music with a scholarship at 12, where he studied piano with David Saperton and conducting with Fritz Reiner. He also received mentoring from great pianists including Leopold Godowsky, Josef Hofmann and Moriz Rosenthal. These all seemed to set him for a thriving career.
Jorge Bolet rehearses in the Tanglewood Shed with Pierre Monteux conducting the BSO © Boston Symphony Orchestra
However, Bolet’s career was far from a flourishing one and had remained static for a major part of his life. He travelled extensively, taught at Indiana University and at his alma mater and recorded for small record labels, without really achieving international fame. It wasn’t until his successful recital at Carnegie Hall in 1974 that he received the recognition he fully deserved. That was a turning point in his life and led to his contract with Decca several years later.
Bolet’s playing was suave, delicate and, most importantly, genuine. Best known for his interpretations of the Romantic repertoire and piano transcriptions, he was never virtuosic merely for its own sake. His finger dexterity was undoubtedly fascinating, but it all came so naturally under his hands. Unlike his contemporaries, he preferred Baldwin and Bechstein to Steinway. This, together with his exquisite touch, makes it possible to identify him just by the sound he created on the piano.
Richard Wagner: Tannhäuser Overture (arr. F. Liszt) (1974) (Jorge Bolet, piano)
This stupendous recording of Liszt’s magnificent transcription of Wagner Tannhäuser Overture was from Bolet’s breakthrough Carnegie Hall recital in 1974, only after which he experienced real success. It was outstanding on any terms – it had absolute technical command, real excitement and aplomb.
Franz Liszt: Schumann – Liebeslied, S566/R253, “Widmung” (Jorge Bolet, piano)
This has been my all-time favourite rendition of this tremendously romantic piece. It had a beautiful singing tone throughout while drawing such a wide array of orchestral colours from the piano. A perfect blend of romanticism, refinement and passion!
This performance had poetry, poise and no affectation, as usual. Observe how sensitively each phrase was crafted and how he reached such emotional intensity without the histrionics that are commonly seen today. One can sense his humbleness in his playing – there’s only music and nothing else. sly known for their extreme technical difficulty. Only a few pianists dared to perform these Études live, and Jorge Bolet was one of them. He was able to transcend the technical challenges and bring out the music despite the complexity. Everything was under complete control – the melodic line was always apparent, and the sound was so rich and lush. Sheer beauty!
Bolet was surely one of the finest musicians of his generation, having been hailed as the greatest pianist in America by Emil Gilels (another legendary pianist). Although his ascent to the rank of “great masters” had been strenuous, he has become an important part of the history of piano music and will continue to inspire pianists of future generations.
My passion of music (I)
Music is an important part of our life as it is a way of expressing our feelings as well as emotions. No matter where you are living on this globe. Some people consider music as a way to escape from the pain of life. It gives you relief and allows you to reduce stress. ... Music plays a more important role in our life than just being a source of entertainment.
Music affects our emotions. When we listen to sad songs, we tend to feel a decline in mood. When we listen to happy songs, we feel happier. Upbeat songs with energetic riffs and fast-paced rhythms (such as those we hear at sporting events) tend to make us excited and pumped up.
Music means the world to me. It makes me think about how it relates to life and I love the beats. Music is a way to express yourself, keep you company while you're alone, and always give you something to do. Music is a way of expressing me and being able to relate to other people.
It won't be a surprise to most that music can affect the human brain emotionally. ... Happy, upbeat music causes our brains to produce chemicals like dopamine and serotonin, which evokes feelings of joy, whereas calming music relaxes the mind and the body.
Music is a form of art; an expression of emotions through harmonic frequencies. ... Most music includes people singing with their voices or playing musical instruments, such as the piano, guitar, drums or violin. The word music comes from the Greek word (mousike), which means "(art) of the Muses.
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Music is love. David Crosby sang this wonderful song already in 1971. "Everybody's sayin' music is love
Everybody'sayin' it's, you know it is..."Music tells stories. Well, composers and musicians use music to tell stories. From all over the world. Music can be used to depict characters, places, actions and even emotions. Music is often used to heighten a mood, or to express a thought or feeling when mere words are not enough.
“[Music] can propel narrative swiftly forward, or slow it down. It often lifts mere dialogue into the realm of poetry. It is the communicating link between the screen and the audience, reaching out and enveloping all into one single experience.” The best stories engage all of the senses.
One of the great things about music in general, and in particular concert music, is that playing it opens up a whole new world of experience that further enhances the mind, physical coordination, and expression. Music lovers, who are also amateur performers, may choose to play in community ensembles (orchestra, band, choir), take lessons, perform with others, compose, and nearly anything else a professional musician may do, while maintaining their regular lives. All of this involves intense physical coordination in performing an instrument alone or with others, while reading musical notation, and adding delicate or strong nuanced changes to the music that only a performer can bring. In general, to an amateur musician, music can provide an escape from everyday life or an alternative means of expressing one's own capabilities. It is an important part of their lives and fills a need or an urge to create music.
I have been a music lover since my 4th birthday. Meanwhile, living as a German expat in the Philippines, I found out that Filipinos and Germans are music lovers. Among indigenous Filipinos, one important function of music is to celebrate or commemorate important events in the human life cycle. Fortunately, until today, these rich indigenous musical traditions live on. They serve as a reminder of the Filipinos' long history of musical talent and ingenuity.
Such is the case of Philippine music which today is regarded as a unique blending of two great musical traditions – the East and the West. ... The majority of Philippine Music revolves around cultural influences from the West, due primarily to the Spanish and American rule for over three centuries.
Becoming a German expatriate in the Philippines already 1999, I have attended many music events. I fell in love with Filipino classical music. So what does music really mean to Filipinos? It simply tells them where they've been and where they could go. It tells a story that everyone can appreciate and relate to, which is why it's a big part of every Filipino culture.
Music of the Philippines (Filipino: Himig ng Pilipinas) include musical performance arts in the Philippines or by Filipinos composed in various genres and styles. The compositions are often a mixture of different Asian, Spanish, Latin American, American, and indigenous influences.
Notable folk song composers include the National Artist for Music Lucio San Pedro, who composed the famous "Sa Ugoy ng Duyan" that recalls the loving touch of a mother to her child. Another composer, the National Artist for Music Antonino Buenaventura, is notable for notating folk songs and dances. Buenaventura composed the music for "Pandanggo sa Ilaw".
(To be continued!)
Musik ist ein wichtiger Teil unseres Lebens, da sie uns die Möglichkeit bietet, unsere Gefühle und Emotionen auszudrücken. Egal, wo wir auf der Welt leben. Manche Menschen betrachten Musik als eine Möglichkeit, dem Alltagsstress zu entfliehen. Sie verschafft uns Erleichterung und hilft uns, Stress abzubauen. … Musik spielt in unserem Leben eine wichtigere Rolle als nur Unterhaltung.
Musik beeinflusst unsere Emotionen. Wenn wir traurige Lieder hören, verspüren wir tendenziell eine gedrückte Stimmung. Wenn wir fröhliche Lieder hören, fühlen wir uns glücklicher. Fröhliche Lieder mit energetischen Riffs und schnellen Rhythmen (wie sie bei Sportveranstaltungen zu hören sind) machen uns aufgeregt und motiviert.
Musik bedeutet mir die Welt. Sie lässt mich darüber nachdenken, wie sie mit dem Leben zusammenhängt, und ich liebe die Beats. Musik ist eine Möglichkeit, sich auszudrücken, Gesellschaft zu leisten, wenn man allein ist, und immer etwas zu tun zu haben. Musik ist eine Möglichkeit, mich auszudrücken und mit anderen Menschen in Kontakt zu treten.
Es wird die meisten nicht überraschen, dass Musik das menschliche Gehirn emotional beeinflussen kann. ... Fröhliche, schwungvolle Musik regt unser Gehirn zur Produktion von Hormonen wie Dopamin und Serotonin an, die Freude auslösen, während beruhigende Musik Körper und Geist entspannt.
Musik ist eine Kunstform; ein Ausdruck von Emotionen durch harmonische Frequenzen. ... Bei Musik wird meist mitgesungen oder es wird ein Instrument wie Klavier, Gitarre, Schlagzeug oder Geige gespielt. Das Wort Musik stammt vom griechischen Wort (mousike), das „(Kunst) der Musen“ bedeutet.
Musik ist Liebe. David Crosby sang dieses wunderbare Lied bereits 1971: „Alle sagen, Musik ist Liebe, alle sagen, es ist Liebe, du weißt, es ist …“
Musik erzählt Geschichten. Komponisten und Musiker nutzen Musik, um Geschichten zu erzählen. Aus aller Welt. Musik kann verwendet werden, um Figuren, Orte, Handlungen und sogar Emotionen darzustellen. Musik wird oft eingesetzt, um eine Stimmung zu verstärken oder einen Gedanken oder ein Gefühl auszudrücken, wenn bloße Worte nicht ausreichen.
„[Musik] kann eine Erzählung schnell vorantreiben oder verlangsamen. Sie erhebt den bloßen Dialog oft in den Bereich der Poesie. Sie ist die kommunizierende Verbindung zwischen Leinwand und Publikum, die alles in ein einziges Erlebnis einbindet.“ Die besten Geschichten sprechen alle Sinne an.
Einer der schönsten Aspekte von Musik im Allgemeinen und von Konzertmusik im Besonderen ist, dass das Spielen eine völlig neue Erfahrungswelt eröffnet, die Geist, körperliche Koordination und Ausdrucksfähigkeit schult. Musikliebhaber, die auch Amateurmusiker sind, können in Ensembles (Orchester, Band, Chor) spielen, Unterricht nehmen, mit anderen auftreten, komponieren und fast alles tun, was ein professioneller Musiker tun kann, und das neben ihrem normalen Leben. All dies erfordert intensive körperliche Koordination beim Spielen eines Instruments allein oder mit anderen, beim Lesen von Noten und beim Hinzufügen feiner oder starker Nuancen zur Musik, die nur ein Musiker einbringen kann. Generell kann Musik für Amateurmusiker eine Flucht aus dem Alltag oder eine alternative Möglichkeit sein, die eigenen Fähigkeiten auszudrücken. Sie ist ein wichtiger Teil ihres Lebens und erfüllt ein Bedürfnis oder einen Drang, Musik zu machen.
Ich bin seit meinem vierten Geburtstag Musikliebhaber. Während meines Aufenthalts als deutscher Auswanderer auf den Philippinen habe ich herausgefunden, dass Filipinos und Deutsche Musikliebhaber sind. Unter den indigenen Filipinos ist eine wichtige Die Funktion der Musik besteht darin, wichtige Ereignisse im menschlichen Leben zu feiern oder zu gedenken. Glücklicherweise leben diese reichen indigenen Musiktraditionen bis heute fort. Sie erinnern an die lange Geschichte des musikalischen Talents und Einfallsreichtums der Filipinos.
So ist es auch mit der philippinischen Musik, die heute als einzigartige Verbindung zweier großer Musiktraditionen gilt – des Ostens und des Westens. ... Der Großteil der philippinischen Musik ist von kulturellen Einflüssen aus dem Westen geprägt, die vor allem auf die über drei Jahrhunderte währende spanische und amerikanische Herrschaft zurückzuführen sind.
Als ich 1999 als deutscher Auswanderer auf die Philippinen kam, besuchte ich viele Musikveranstaltungen. Ich verliebte mich in die klassische philippinische Musik. Was bedeutet Musik also wirklich für Filipinos? Sie erzählt ihnen einfach, wo sie waren und wohin sie gehen könnten. Sie erzählt eine Geschichte, die jeder schätzen und mit der sich jeder identifizieren kann, weshalb sie ein wichtiger Teil jeder philippinischen Kultur ist.
Musik der Philippinen (philippinisch: Himig ng Pilipinas) umfasst musikalische Darbietungskunst auf den Philippinen oder von Filipinos, die in verschiedenen Genres und Stile. Die Kompositionen sind oft eine Mischung verschiedener asiatischer, spanischer, lateinamerikanischer, amerikanischer und indigener Einflüsse.
Zu den namhaften Komponisten von Volksliedern gehört der Nationale Musikkünstler Lucio San Pedro, der das berühmte „Sa Ugoy ng Duyan“ komponierte, das an die liebevolle Berührung einer Mutter mit ihrem Kind erinnert. Ein weiterer Komponist, der Nationale Musikkünstler Antonino Buenaventura, ist bekannt für seine Notation von Volksliedern und Tänzen. Buenaventura komponierte die Musik für „Pandanggo sa Ilaw“.
(Fortsetzung folgt!)
Monday, October 4, 2021
Charles Gounod - his music and his life
Charles Gounod was born 200 years ago, on 17 June 1818 in Paris. Today we primarily remember him as the composer of the opera Faust and an Ave Maria descant to the first prelude of J.S. Bach’s C-major prelude from the WTC. Yet, during the second half of the 19th century, he was one of the most respected and prolific composers in France. His musical influence on the course of French music was highly significant, but in the fractured post-Wagnerian critical climate towards the end of his life, his reputation took a severe hit. Son of a painter and engraver of considerable talent, Charles exhibited enormous talents in music and the fine arts. Pressured into studying law, Charles decided at age 16 to devote himself to music. Private lessons in counterpoint and harmony with Antoine Reicha prepared Charles for his enrollment at the Paris Conservatoire. Fully devoted to composition, Charles furthered his studies with Halévy and Le Sueur, and he won the Prix de Rome in 1839 with his cantata Fernand.
The operatic stage in Rome—primarily populated by Donizetti, Bellini and Mercadante—was of little interest to Gounod. However, coming under the influence of the Dominican preacher Père Lacordaire, Gounod became genuinely fascinated by the music of Palestrina and the cultural legacy of Rome. He also crossed paths with Fanny Mendelssohn, and spent the remainder of his government stipend in Austria and Germany. After meeting with Felix Mendelssohn in Leipzig, Gounod returned to Paris and became music director of the Missions Etrangères church in 1843. He stayed in this position for the better part of four years until he formally enrolled at the seminary of St. Sulpice to begin studies for ordination into the priesthood. In the end, he rather abruptly abandoned his pursuit of the cloth and began to cast his eyes towards the glitzy world of opera.
Gounod was not a household name on the Parisian musical scene, but all that changed when he started to orbit around the mezzo-soprano Pauline Viardot. It was her influence that secured him an unexpected commission at the Opéra for Sapho, with a libretto by Emile Augier. In the event, Sapho was an unmitigated failure at the box office, but the work did receive some critical approval from Hector Berlioz. As such, the Opéra offered him another contract in 1852 to set Eugène Scribe’s libretto La nonne sanglante.
Additional projects soon followed but Gounod had no great theatrical success until he hit the jackpot with Faust derived from Goethe. Première on 19 March 1859, the opera was once more praised by Berlioz, but casting problems and a hostile press raised doubt whether Faust would be able to survive. Thanks to the efforts of the publisher Antoine de Choudens, who bought the rights and aggressively promoted the work, Faust exploded onto the European opera stages. Richard Wagner called it a “feeble French travesty of a German monument,” but he could not prevent Gounod’s Faust to become the most frequently staged operas of all time.
Gounod died on 18 October 1893, and although Ravel considered him the “real founder of the mélodie in France,” his music fell rapidly out of fashion. Gounod steadfastly believed in a universal dramatic and spiritual truth, and his refusal to pursue the implications of Wagner’s musical style placed him at odds with writers and critics alike. Debussy quipped, “Gounod, for all his weaknesses, was necessary as his art represents a moment in French sensibility.”
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