Concerto a due cori HWV Allegro ma non troppo. Suite per orchestra, n. William Boyce dall: Sinfonia n. Gavotte Rondeau. Matthew Locke dall: The Tempest. Musiche di scena. Curtain tune. Henry Purcell Concerto In Si Bemolle - Various - Profumo Di Rovina - Dieci Canzoni Dal Ferrante Aporti The Fairy Queen.
Opera in 1 prologo e 5 atti Z Arranger Alexander Gagarinov. Editor Raymond Meylan Leipzig: F. Leuckart Plate F. You also acknowledge Concerto In Si Bemolle - Various - Profumo Di Rovina - Dieci Canzoni Dal Ferrante Aporti this forum may be hosted outside your country and you consent to the collection, storage, and processing of your data in the country where this forum is hosted.
I Agree. Accedi o registrati. Come iniziare un concerto? Post ultime attivita'. Pagina di 1. Sempre oggi Ultima settimana Ultimo mese. Filtrato da:. The third and longest movement is the "Pezzo serioso", a massive meditation and exploration in four parts in the key of D flat major which has a central climax that is once again pianistically challenging and brilliantly scored for both the piano and the orchestra. The fourth movement "All' Italiana", is perhaps the most variegated in its use of the orchestra, with a terrifically virtuosic piano part, arguably more difficult than anything that has come before it in the work.
There are also two cadenzas to this movement — one, included in the printed score; the other, an insert in the two-piano score that is an amplification of the one printed in the two-piano edition.
The final movement, "Cantico" with male chorus, brings full circle many themes that have been heard earlier in the work. The concerto is scored for a large orchestra. Apart from the immense demands required of the soloist and the large forces needed, there is a further difficulty that can affect performances of this work: the role of the soloist.
As Busoni himself wrote, piano concertos tended to be modelled after either Mozart or Beethoven. The orchestra mostly provides a background accompaniment. But with Beethoven, the work is often conceived in symphonic terms; the piano takes the secondary role, reflecting on or responding to ideas that have already been introduced by the orchestra excepting the fourth piano concerto.
Busoni combined both these precedents in the Piano Concerto, Op. This self-abasement of the familiar 19th-century heroic soloist's role thus requires careful consideration of balance in performance. But as music writer Edward Dent comments:.
Despite the Concerto In Si Bemolle - Various - Profumo Di Rovina - Dieci Canzoni Dal Ferrante Aporti difficulty of the solo part, Busoni's concerto at no point offers a display of virtuosity. Even its cadenzas are subsidiary episodes. At the same time the pianoforte hardly ever presents a single theme in its most immediate and commanding shape. It is nearly always the orchestra which seems to be possessed of the composer's most prophetic inspiration.
Busoni sits at the pianoforte, listens, comments, decorates, and dreams. He used the opportunity of his daily visits to read out Aladdin to Goethe, freely translating from the Danish. This edition was published in in Amsterdam. More especially, this version had a new finale differing considerably from the original Danish edition by having various magical scenic transformations. Busoni was quite taken with this early German version of Aladdin and planned to adapt it as a one-evening work.
In a letter to his wife, dated London, February 10,Busoni wrote:. It is my old idea of a play with music where it is necessarywithout hampering the dialogue. As a spectacle and as a deep symbolic work it might be something similar to the Magic Flute; at the same time it would have a better meaning and Concerto In Si Bemolle - Various - Profumo Di Rovina - Dieci Canzoni Dal Ferrante Aporti indestructible subject [ mit besserem Sinn und einem nicht tot zu machenden Sujet ].
Besides this, I have planned 6 works for the summer, the principal one being the pianoforte Concerto. How beautiful! However, Busoni never completed his adaptation of Aladdin although Concerto In Si Bemolle - Various - Profumo Di Rovina - Dieci Canzoni Dal Ferrante Aporti did compose music for the final chorus in the magic cave; this soon made its way into the Piano Concerto.
As Busoni's biographer Edward J. Dent remarks:. One may indeed wonder why an essentially Italian work should end with verses in praise of Allah. The plain fact was that Busoni at the moment happened to be interested in Aladdin and had set the final chorus to music. When he planned the Concerto he saw that this chorus, which has something of the mystical character of the concluding stanzas of Goethe's Faustwas exactly the music to give the general sense of serenity that he required for his own finale.
It was from the original Aladdin chorus that he took the theme which occurs in the first movement; when he came to write out the last movement he felt that he missed the words, and therefore directed that a chorus of men's voices should sing them. In the finale of the play, the grown-up Aladdin replaces the lamp with its genie or spirit back in the magic cave where he first found it.
Busoni follows the text exactly, only omitting a few verses which were not appropriate. The chorus is directed to be invisible; it sings in plain chords, like a body of soft trombones added to the orchestra.
The effect which Busoni desired was stated by him once in a letter to a friend who had mistakenly suggested to him that it might be better to re-write the chorus for mixed voices; he replied that he had no desire to convert his Concerto into an oratorio; he insisted that the chorus should be invisible, and said that its function was Vendome - The Modern Jazz Quartet - V.I.P.-Jazz 19 Modern Jazz Quartet add a new register to Sundays - Fugitive Dancer - Spark Of The Fugitive Dancer sonorities which precede it'.
This praise applied to what Schiller admired in Goethe, but did not possess himself. Baggesen, who wrote in accordance Presto - Ludwig van Beethoven, Vermeer-Quartett* - Streichquartette Op.
130 & 133 »Große Fuge« a strictly defined poetics, deeply desired to overcome this tension; but since he realized that his own dualist climb toward lofty heights a recurring motif would scarcely be successful, he praised Oehlenschlager and Goethe, whose poetry seemed to promise a synthesis, a new world void of such restriction. Vollends belebet ist jetzo die tote Welt.
Deep and quiet, the pillars of rock begin to sound: Lift up your hearts to the power eternal, Feel Allah's presence, behold all his works! Joy and pain interweave in the light of the world; The world's [mighty] pillars stand peacefully here. Thousands and thousands and once again thousands Of years — serene in their power as now — Flash by purely with glory and strength, They display the indestructible. Hearts glowed [so brightly], hearts became colder.
Wine & Dine - Scare Dem Crew - Scared From The Crypt interchanged life and death. But in a peaceful awaiting they stretch out, Gorgeous, powerfully, early and late.
Lift Killings Safe - Artsonic - Hacktivist your hearts to the power eternal, Feel Allah's presence, behold all his works!
Thus the dead world comes completely to life. Praising divinity, the poem falls quiet! Ha, da steh' ich nun!
Wohlan, so will ich auf die Ewigkeit Auch ferner einzig und allein vertrauen. I came here as a boy, when as yet Only the exterior of my inward being Caught my eye. A good spirit charmed My life, bestowed upon me a powerful means By which to struggle through this finitude Towards the eternal peak. Ha, there I stand now! Well then, in Eternity I will furthermore Exclusively and solely place my trust.
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