Byron In Exile
Frederick Fucking Chopin
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Dum Transisset Sabbatum
- Thread starter Byron In Exile
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Byron In Exile
Frederick Fucking Chopin
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butters
High on a Hill
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plays...
hoping you find your sleepI miss listening to music before I sleep...
listening now, maybe I will go back to sleep
listening to this as you fall through the mists?
what dreams, what dreams this would produce
butters
High on a Hill
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butters
High on a Hill
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Byron In Exile
Frederick Fucking Chopin
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Bellissima...!
"Is that 'Old Dog Tray?' It sounds to me like 'Old Dog Tray.' You know, Stephen Foster. 'Oh, Susannah,' 'Camptown Races.' Stephen stinking Foster!"
"Ah, yes. Well, this happens to be a nocturne."
"A which?"
"You know... Frederic fucking Chopin."
Byron In Exile
Frederick Fucking Chopin
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Byron In Exile
Frederick Fucking Chopin
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Johann Sebastian Bach's Musical Offering, BWV 1079, is the result from a challenge to develop a theme played for the composer by Frederick the Great. The meeting took place on 7 May 1747, and Bach's son, Carl Philipp Emmanuel, who often accompanied Frederick in performances of chamber music, arranged for the two men to meet. By then, J.S. Bach, "the old Bach of Leipzig," was considered as a writer of old-fashioned music, but his improvising skills were still legendary. Frederick, the King of Prussia, did not approve of overly complicated music, clearly preferring the fashionable galant style to the complicated fugues of high Baroque music. In an apparent attempt to confound the old master, the monarch offered an awkward chromatic subject for the elderly composer to improvise upon, and was amazed by Bach's handling of this "Royal Theme." Afterward, the improviser insisted that he still had not done the theme justice, and that he would endeavor to do so. Later that year, The Musical Offering appeared in print, dedicated to Frederick the Great, and published at the composer's own expense. It demonstrates the full arsenal of the Baroque composer of fugues and does it with more fluency than any other composer of the time would have been able to provide. Of course, it takes into account the monarch's passion for flute playing and offers a prominent part for the instrument.
Unfortunately, this gesture of respect and reverence more or less backfired. The flute part is fiendishly difficult, and there is no allowance for the monarch's clear preference for galant music; it is as Baroque as anything else Bach wrote, except where he takes galant ideas and makes them more Baroque. For example, instead of performing a simple "sigh" gesture in the flute sonata movement, a descending interval that sounds like a sigh, Bach sequences it in different pitches until it is as difficult and Baroque as anything as he had written before. Galant music is meant to be simple, a return to melody over harmony, and is the first step toward the Classical music of Haydn and Mozart. Furthering the conflict between Bach's offering and Frederick's goodwill were the theological inferences imbedded in the music. Much of it is in a holy code that was clearly derivative of church music and Frederick, a man of the enlightenment, had little use for anything liturgical. In the centuries that divide the composer's world-view and the current millennium, the many Lutheran inferences of the music have lost the impact they once had.
The Musical Offering can be compared to The Art of Fugue for its thorough handling of the theme. The music is diverse, heavenly, and inexhaustible. It stands as one of the finest pieces of chamber music from the Baroque era, and is a favorite among musicians who enjoy a challenge.
JS Bach: Musikalisches Opfer, BWV 1079
00:00:53 — Thema regium
00:07:28 — Thematis regii elaborationes canonicae
00:25:18 — Sonata sopr'il soggetto reale a traversa
00:42:59 — Thematis regii elaborationes canonicae
Encore:
01:07:24 — Orchestral suite no. 2 in B minor: Badinerie
Unfortunately, this gesture of respect and reverence more or less backfired. The flute part is fiendishly difficult, and there is no allowance for the monarch's clear preference for galant music; it is as Baroque as anything else Bach wrote, except where he takes galant ideas and makes them more Baroque. For example, instead of performing a simple "sigh" gesture in the flute sonata movement, a descending interval that sounds like a sigh, Bach sequences it in different pitches until it is as difficult and Baroque as anything as he had written before. Galant music is meant to be simple, a return to melody over harmony, and is the first step toward the Classical music of Haydn and Mozart. Furthering the conflict between Bach's offering and Frederick's goodwill were the theological inferences imbedded in the music. Much of it is in a holy code that was clearly derivative of church music and Frederick, a man of the enlightenment, had little use for anything liturgical. In the centuries that divide the composer's world-view and the current millennium, the many Lutheran inferences of the music have lost the impact they once had.
The Musical Offering can be compared to The Art of Fugue for its thorough handling of the theme. The music is diverse, heavenly, and inexhaustible. It stands as one of the finest pieces of chamber music from the Baroque era, and is a favorite among musicians who enjoy a challenge.
JS Bach: Musikalisches Opfer, BWV 1079
00:00:53 — Thema regium
• Ricercar* a 3
(*An acrostic by Bach was added to the first edition: "Regis Iussu Cantio Et Reliqua Canonica Arte Resoluta" — "According to the order of the King the tune and the remainder are resolved with canonic art.")
(*An acrostic by Bach was added to the first edition: "Regis Iussu Cantio Et Reliqua Canonica Arte Resoluta" — "According to the order of the King the tune and the remainder are resolved with canonic art.")
00:07:28 — Thematis regii elaborationes canonicae
• Canon perpetuus super thema regium
• Canon 2 a 2 violini in unisono
• Canon 1 a 2 cancrizans
• Canon 3 a 2 per motum contrarium
• Ricercar a 6
• Canon a 4 per augmentationem, contrario motu (a)
• Canon 2 a 2 violini in unisono
• Canon 1 a 2 cancrizans
• Canon 3 a 2 per motum contrarium
• Ricercar a 6
• Canon a 4 per augmentationem, contrario motu (a)
00:25:18 — Sonata sopr'il soggetto reale a traversa
• Largo
• Allegro
• Andante
• Allegro
• Allegro
• Andante
• Allegro
00:42:59 — Thematis regii elaborationes canonicae
• Canon a 2 quaerondo invenietis (a)
• Canon 5 a 2 per tonos
• Canon a 2 quaerondo invenietis (b)
• Fuga canonica in epidiapente
• Canon a 2 per augmentationem, contrario motu (b)
• Canon perpetuus per giusti intervalli
• Canon a 4
• Ricercar a 6
• Canon 5 a 2 per tonos
• Canon a 2 quaerondo invenietis (b)
• Fuga canonica in epidiapente
• Canon a 2 per augmentationem, contrario motu (b)
• Canon perpetuus per giusti intervalli
• Canon a 4
• Ricercar a 6
Encore:
01:07:24 — Orchestral suite no. 2 in B minor: Badinerie
Byron In Exile
Frederick Fucking Chopin
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Byron In Exile
Frederick Fucking Chopin
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Well, then...
Noor
Citizen of the World
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I was able to listen to this tonight with just a few tears. Glorious music, literally.
This thread has some of the best. Miss you
Noor
Citizen of the World
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doesn't seem to matter when I listen this, I break down.
Will I ever be able to listen to choral music again without tears?
Last edited:
4est_4est_Gump
Run Forrest! RUN!
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Less than human???
You would call people that!!!
inhuman
adjective
1. lacking human qualities of compassion and mercy; cruel and barbaric.
2. not human in nature or character.
