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Thread: Music Thread ~ CLASSICAL ~

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    Avalon Member Kryztian's Avatar
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    Default Re: Music Thread ~ CLASSICAL ~

    Quote Posted by Brigantia (here)
    Anyone who knows their classic British Ealing comedy films will remember this from The Ladykillers, where a band of robbers meet their match with 'Mrs Lopsided'.
    Perhaps the funniest movie every made, and certainly one of my favorites. At the risk of going off topic, here is the trailer:



    But not completely off topic, because there are snippets of the Boccherini in the trailer.

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    Default Re: Music Thread ~ CLASSICAL ~

    Yes Kryztian (also wondering who composed the soundtrack). The “lavender gang” — couldn’t have been Britishly funnier than that.

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    Great Britain Avalon Member Mari's Avatar
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    Default Re: Music Thread ~ CLASSICAL ~

    Quote Posted by Kryztian (here)
    Quote Posted by Brigantia (here)
    Anyone who knows their classic British Ealing comedy films will remember this from The Ladykillers, where a band of robbers meet their match with 'Mrs Lopsided'.
    Perhaps the funniest movie every made, and certainly one of my favorites. At the risk of going off topic, here is the trailer:



    But not completely off topic, because there are snippets of the Boccherini in the trailer.
    Haha - that was his Minuet in E Major (played on the phonograph while the robbers were pretending to be practicing)

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    Default Re: Music Thread ~ CLASSICAL ~

    Quote Posted by Brigantia (here)
    Just catching up on the wonderful recent posts here... also to add this exquisite classic. Anyone who knows their classic British Ealing comedy films will remember this from The Ladykillers, where a band of robbers meet their match with 'Mrs Lopsided'.


    That minuet became an 'ear-worm' for me as the film was one of my OH's favourite films and he watched it many times.

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    Default Re: Music Thread ~ CLASSICAL ~

    92-Year-Old Woman With Dementia Performs Moonlight Sonata




    Amazing . . .

    Apologies, you'll need to click on the link
    Last edited by Miller; 24th March 2023 at 22:04.

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    Default Re: Music Thread ~ CLASSICAL ~

    Since we are talking about movie music, and since we are in the last dark days of Lent, here is a simple but dark chorale by Bach.



    It is used in this surreal but beautiful scene in film "Solaris" by Andrei Tarkovsky


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    Default Re: Music Thread ~ CLASSICAL ~

    I remember this in my heart...

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    Default Re: Music Thread ~ CLASSICAL ~

    Oh... the great John Dowland. My late father’s love in the last phase of his life. He played very well the piano and the guitar – then, when retired, went on to attend a string instrument making school, where he specialised in making lutes – in order to play John Dowland.. One of our too rare magic moments together during his last years was a small exchange with him playing “Loath to Depart” on one of his lutes, and I one of the Contrapunctus of Bach’s Die Kunst der Fuge on the piano. Although he cherished Bach, he was even fonder of Renaissance music.

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    Default Re: Music Thread ~ CLASSICAL ~

    Maybe the greatest of all Bach admirers was the 19th-century Austrian composer Anton Bruckner. His eleven symphonies – the first two of which he considered "tests" (although they are magnificent in their own right) and hence are called the Double-zeroeth (“00”) and Zeroeth (“0”) Symphony, his official First one being actually the third – are among the greatest orchestral compositions ever written. He certainly belongs to that select group of five symphonic geniuses of the second half of the 19th and beginning of the 20th century, who are Tchaikovsky, Dvorak, Brahms, Bruckner and Mahler, who fathered 7, 9, 4, 11 and again 11 symphonies respectively — ... The last two composers, Bruckner and Mahler, left their last symphonies unfinished (Bruckner his eleventh but officially Ninth, and Mahler his eleventh (but officially Tenth (his Das Lied von der Erde, which sits between his Eighth and his Ninth, being a symphony in character).

    Gustav Mahler died when he had only orchestrated two of his Tenth’s five movements, the rest existing – and fully composed – but only on four staves (a so-called particello score) and a few indications on how it should be orchestrated. That was done then by an important British musicologist, Deryck Cooke, who basically could restrict himself to orchestrating Mahler’s score. This version is now virtually the most frequently played version of Mahler’s Tenth, although other versions exist. But I will leave this Symphony and a few remarks about it for another time, in order to draw your attention to Bruckner’s Ninth.

    Why was this absolute masterpiece unfinished? The answer is poignant and terrible at the same time. Bruckner was still working on it on his deathbed – basically writing the 4th and last movement’s full orchestra score (which, unlike Mahler, he often wrote directly for the full orchestra, often without particello), from his sketches – when he died. Movements one to three were complete, the various sections of the Fourth movement were found lying around in his bedroom — and a few of those sections were stolen by souvenir hunters. Let this sink in a bit. Bruckner was a very pious Roman Catholic, and had dedicated his Ninth Symphony “to the dear Lord” – and precisely from the score of that superhuman feat to express his adoration, parts were stolen. And not found again —

    It was then left to the world of musicology and of composing music itself (I mean: of later composers who were admirers of Bruckner) to fill in the gaps. That world of musicology needed more than thirty years at the end of the 20th and the beginning of the 21rst century (so a full century later!) to seriously and relentlessly try and understand Bruckner’s score, work out the orchestration and especially, understand how his indications of the harmonic structure (the sequence of chords, basically) could be transformed into fully expressed musical thought and expressive music. All those people who made sometimes lifetime efforts to achieve this completion — and whose names I will not name but, if the music catches and haunts you – which I hope (!) – you may want to look up.. all those people were being greatly helped in their efforts by what this Fourth movement was meant to represent by Bruckner.

    The whole Symphony expresses the confrontation of man with death and transcendence.

    The first movement confronts him with the nearing end of all his endeavours, the drama of it, the despair, and the attempts at forgetting it temporarily. The shorter second movement is a (first) vision of Hell, the obsessive character of its idea, and again the sweetness of life that helps us not to think of it. The longer third movement is a deeply moving song of farewell, meditating on the hurdles on the road (suffering and anguish).

    The fourth movement then – here I am making a daring statement which one does not find in musicological comments, but which may not surprise the readers of this forum – starts with a sort of Near Death Experience, in which a towering Divine Judge only gradually yields to a Merciful God represented by a gigantic and sublime chorale theme that appears three times in the movement, yet these appearances are alternated with (rather near the beginning of the movement) a depiction of the descent of the soul into Purgatory and its climbing or being helped out of it towards the Divine, as well as a fascinatingly complex Fugue (midway in the movement, introduced by a few short trumpet signals, which, with its sharp dissonances, seems to express the flight ("a "fugue", is it not) of the souls trapped in Purgatory.. but gradually, to our delight, the music becomes more open, sweeter, brought about by what is called Bruckner’s "Allelujah” motive, basically a major chord of which the basic steps (tonic, median, dominant etc.) stride up the ladder of Ressuscitation, and finally end in the most glorious restatements of the chorale in which what I call the mysterious “Near Death Experience” music in minor with which the 4th movement sets in is revealed as a descending ladder (endless creation) in Major.

    The reconstruction efforts have not yet found a close. There are, as for Mahler’s Tenth, still a few smaller debates about this or that measure, this or that orchestration going on, but up to 99 p.c. is, in my honest opinion, settled — so that the members who are not professional or amateur musicians can enjoy them. I will present to you the complete Ninth Symphony, with the completion made, on the basis of all documents, by the Italian composer Roberto Ferrazza – played quite recently by the Thailand Symphony Orchestra led by Alfonso Scarano

    Bruckner’s Ninth — Ferrazza — Scarano

    Don’t forget to muster your best amplifier and speakers... and 90 minutes of your time...

    and endless moments of awe and gratitude to the composer later...
    Last edited by Michel Leclerc; 13th April 2023 at 22:07.

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    Default Re: Music Thread ~ CLASSICAL ~

    Quote Posted by Michel Leclerc (here)
    Bruckner’s Ninth.

    Why was this absolute masterpiece unfinished? The answer is poignant and terrible at the same time. Bruckner was still working on it on his deathbed – basically writing the 4th and last movement’s full orchestra score (which, unlike Mahler, he often wrote directly for the full orchestra, often without particello), from his sketches – when he died. Movements one to three were complete, the various sections of the Fourth movement were found lying around in his bedroom — and a few of those sections were stolen by souvenir hunters. Let this sink in a bit. Bruckner was a very pious Roman Catholic, and had dedicated his Ninth Symphony “to the dear Lord” – and precisely from the score of that superhuman feat to express his adoration, parts were stolen. And not found again —


    Thank you for this Michel. If I had to pick a favorite Bruckner Symphony, it just might be the Ninth. While I have been listening to it for several decades, this is the first time I listened to a "completed" version with a reconstructed 4th movement. I can't quite say I am as happy with the last movement as I was with the completed three. It sounds very "fragmented" - terse development and strange chromatic changes.

    Almost all Bruckner symphonies end fortissimo, with horns blaring and the timpani pounding. I was always happy to hear this symphony end quietly and mystically, as it is usually performed with just three movements.

    Bruckner also suggested that his "Te Deum" be used as a final movement. It would be a fitting ending for a piece that he dedicated to the glory of God.


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    Default Re: Music Thread ~ CLASSICAL ~

    Dear Kryztian, thank you very much for your answer. It seems that we can set up now a genuine Bruckner aficionado club on PA.

    (Anecdote: forty years ago I was invited by a friend writer, draughtsman and fellow lover of “E-Musik” (wenn dieser Club nur uns beide zählt (;-)) können wir ihn auch ruhig exklusiv Deutsch halten) to his parents’ secondary residence that boasted a quite adventurous pond with islets, where one evening during a Brucknerian sunset my friend and I rowed upon, each in his own canoe: because of the dusk and the many shrubby islets we were circumnavigating it was a game of hide and seek, but we were helped by both him and me alternatively singing with our bariton voices themes from the Bruckner symphonies and identifying them: "3rd, Scherzo!", "opining of the Sixth!" etc.; I recommend it, do find a kindred soul).

    Forgive me for being an “amateur specialist” on the completion of the 9th. As the “completers” rightfully say: Bruckner had never meant the Ninth to end with the Adagio. That would almost be blasphemous to him. A devout Catholic had to accept death and trust in God in his eyes, and it was that conclusion which he wanted to express in the Finale. Yet he did state that in case he were not to be able to finish his work, then the Te Deum might have been played instead.

    The reconstruction shows that would not have to be case. As one of the reconstructors, Australian musicologist John Phillips, has recently stated: all the harmonic progressions (and hence the number of measures) “are there” – in part in sketch-form because the corresponding full scores had been stolen – and that also means the exact number of measures. What we know of Bruckner’s style allows us to interpret the harmonic progressions correctly in terms of orchestration, dynamics and tempo (slight accelerandos and diminuendos – not so many because musically, the 4th movement has a continuous pace and drive.)

    I get from your comment that you admire the movement and the parts of it which are really “unheard of” in Bruckner. Very striking to me are, e.g. the final resolution where the return to the tonic (in D Major now) is preceded by a thirteenth chord (the next step would be Mahler’s extraordinary decachord in his Tenth (both in the 1rst and the 5th movement) – which Mahler characteristically chose not to resolve..), and then the magnificent Chorale which is basically an unstable chromatic shifting of four-bar phrases with full orchestral glory moving on the "wayfarer" in the afterlife towards bliss. And then, in order to express some sympathy maybe not with the devil but with the conflicting world of Purgatory: the Fugue is unlike any other by Bruckner with its restless, angular continuation in semiquavers (right at the beginning, the cellos)... and must have a source of inspiration for Mahler again, if we just think of the Fugue Scherzo in his Ninth. With that Fugue, Bruckner has not yet led us into heaven yet, but first into the Twentieth Century.

    To me all this musical beauty, just like natural beauty of humans and animals and plant life, dear Kryztian, is very soothing in these dire times. I guess you may agree with that.

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    Default Re: Music Thread ~ CLASSICAL ~

    Just playing a favorite.
    Thank you Michel for the information,..always good to learn new things.
    Last edited by Ivanhoe; 17th April 2023 at 12:33.

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    Default Re: Music Thread ~ CLASSICAL ~

    The divine Kempff... the so moving Waldstein sonata...

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    Default Re: Music Thread ~ CLASSICAL ~

    A Corny Concerto is an American animated cartoon short produced by Leon Schlesinger Productions and distributed by Warner Bros. It was directed by Bob Clampett, written by Frank Tashlin, animated by Robert McKimson and released as part of the Merrie Melodies series on September 25, 1943. A parody of Disney's 1940 feature Fantasia, the film uses two of Johann Strauss' best-known waltzes, Tales from the Vienna Woods and The Blue Danube, adapted by the cartoon unit's music director, Carl Stalling and orchestrated by its arranger and later, Stalling's successor, Milt Franklyn. Long considered a classic for its sly humor and impeccable timing with the music, it was voted #47 of the 50 Greatest Cartoons of all time by members of the animation field in 1994. The title, in tune with the name of the unit's other cartoon series, Looney Tunes, suggests another Disney titling parody, that of the pioneering series Silly Symphonies.

    Tens shorts


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    Default Re: Music Thread ~ CLASSICAL ~

    Quote Posted by Michel Leclerc (here)
    The divine Kempff... the so moving Waldstein sonata...
    Michel, I know this will sound incredibly stupid,... but I have listened to this sonata for decades, and I think Kempff is brilliant, but in all this time listening to this piece I realized I had never listened intently, focusing on his left hand. My God, he is truly a master.
    After 40+ years I realized I had never truly "heard" it.
    I must be some kind of idiot.

    And here's an offering to Spring, another of my favorites.
    Last edited by Ivanhoe; 2nd May 2023 at 00:08.

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    Default Re: Music Thread ~ CLASSICAL ~

    Quote Posted by Michel Leclerc (here)
    To me all this musical beauty, just like natural beauty of humans and animals and plant life, dear Kryztian, is very soothing in these dire times. I guess you may agree with that.
    Yes I agree with you, there is amazing naturalistic musical beauty in Bruckner.

    Like Bruckner I am an organist, although probably nothing like on the level he was, but I was curious why I had almost never come across any of his organ music. Some musicologist have compared his orchestrations to the texture of an organ. He wrote great symphonic and choral music but not too many organ pieces and almost nothing of note. One exception: I did find his "Perger" Prelude interesting. Not very long and not that many notes, but it does require a lot of dynamic and stop changes for such a short piece. I might attempt it.



    I also came across this amazing, amazing performance of his entire 7th symphony on organ. This is really a tour de force performance. I can't imagine how many changes of stop (the selection so different pipes there are). There must be several hundred of them. In Bruckner's time this performance would have required several registrants (assistant who assist an organist during a performance by pushing in and pulling out stops to change the selection of pipes.) I only wish the had invested more in recording engineers to do a better job at capturing this magnificent performance:


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    Default Re: Music Thread ~ CLASSICAL ~

    Still among my favorites.

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    Default Re: Music Thread ~ CLASSICAL ~

    In commemoration of last weeks failed coup by the Wagner Group in Russia last week, here is music from another Wagnerian failed coup: the "Ride of the Valkyries" from "Der Ring des Nibelungen." Brunhilde (Prigozhin) has a plan to get the magic ring back from the evil doers (Zelinsky) , however, her actions anger the gods and Wotan (Putin) has the job of going after her an stripping her of her god powers (which is like being exiled to Belarus) In this scene the Valkyries (Bruhhilde's sisters) are on their flying horses as they come to the assistance of their sister Brunhilde (only seen at the very end of this clip).


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    Default Re: Music Thread ~ CLASSICAL ~

    The CIA and Classical Music
    Podcast 4 of The Nightmare of Reason with Roger Rudenstein

    https://rogerrudenstein.substack.com...-music#details

    Yes, the elitist of Yale and Harvard, anxious to overthrow communism, and organizations like the Rockefeller Foundation, promoted serialism (12 tone music) and other musical forms that alienated their audience.

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    Default Re: Music Thread ~ CLASSICAL ~

    Happy 56th Birthday to Gioachino Rossini - yes, this is only the fifty-sixth time his birthday is being celebrated. Rossini is responsible for many musical jokes, but his first joke ever was being born on a leap day and confusing us about his age.


    Gioachino Antonio Rossini (29 February 1792 – 13 November 1868)





    Last edited by Kryztian; 3rd March 2024 at 21:51.
    "If seeds in the black earth can turn into such beautiful roses, what might not the heart of man become in its long journey toward the stars?"
    --- G.K. Chesterton

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