I couldn't agree more. It's so beautiful.. I found on youtube this perfect music/video match:
Did you know that Disney used the first movement of this Piano Concerto in Fantasia 2000 part "The Steadfast Tin Soldier"?
Last edited:
-
You are currently viewing our forum as a guest which gives you limited access.
By joining you will gain full access to thousands of Videos, Pictures & Much More.
Membership is absolutely FREE and registration is FAST & SIMPLE so please, Register Today and join one of the friendliest communities on the net!
You must be at least 18 years old to legally access this forum. -
Hello Guest,
Thanks for remaining an active member on GayHeaven. We hope you've enjoyed the forum so far.
Our records indicate that you have not posted on our forums in several weeks. Why not dismiss this notice & make your next post today by doing one of the following:
- General Discussion Area - Engage in a conversation with other members.
- Gay Picture Collections - Share any pictures you may have collected from blogs and other sites. Don't know how to post? Click HERE to visit our easy 3-steps tutorial for picture posting.
- Show Yourself Off - Brave enough to post your own pictures or videos? Let us see, enjoy & comment on that for you.
- Gay Clips - Start sharing hot video clips you may have. Don't know how to get started? Click HERE to view our detailed tutorial for video posting.
Active and contributing members will earn special ranks. Click HERE to view the full list of ranks & privileges given to active members & how you can easily obtain them.
Please do not flood the forum with "Thank you" posts. Instead, please use the "thanks button"
We Hope you enjoy the forum & thanks for your efforts!
The GayHeaven Team.
Classical music [Youtube Clips]
- Thread starter ihno
- Start date
I couldn't agree more. It's so beautiful.. I found on youtube this perfect music/video match:
Did you know that Disney used the first movement of this Piano Concerto in Fantasia 2000 part "The Steadfast Tin Soldier"?
Prokofiev in Seoul and Barcelona
Despite his signature sarcasms, bombast, and primitivism, Prokofiev believed in the importance of lyricism. Thus he left the world many melodies that are quite unforgettable, including those from cherished masterpieces like his Fifth Symphony and Romeo and Juliet. Fonteyn and Nureyev were the first to do the latter any justice, and I cut my teeth on what is still my preferred recording: Andre Previn conducting the LSO.
But this cantata really surprised me. Since Woody Allen’s Love and Death, I’ve been fond of its most famous theme, of course, but I had no idea its other themes were so interesting. Perhaps Alexander Nevksy really is one of the greatest film scores ever composed, just as many critics have contended. Erasing the need for dramatic accompaniment, the cantata draws all together much more cohesively.
Prokofiev did the same with The Fiery Angel, his failed opera completed in the mid- to late 1920s, by turning it into his Third Symphony, which I love. Early critics bemoaned the opera’s “hysterical” program---demonic possession, mystical visitation, and the Inquisition in medieval Germany (yeah, I’m not kidding)---but recent performances have improved its lot, and now I like the opera too. Most likely that’s because I know the symphony, the opera’s favored son, so well.
I’ve listened to the two following performances many times now and there’s a lot I love about both. In Barcelona, it’s a little unique to see an old frau or grandma wailing over husband, sons or grandsons in the Field of the Dead. I think the role is actually written for a younger woman lamenting the slaughter of so many potential lovers. Some dark humor there. But I love the South Korean contralto as well. I’ve always thought this music was about struggle and resolve, but now I feel it is mostly about survival. With the screw-loose megalo hovering over them like a mushroom cloud to the north, Seoul’s fervor becomes all the more hypnotic. The Soviet holdover retarding Russia right now may also be relevant, especially to members of this site. Here are the movements:
Alexander Nevsky Cantata (1938-39)
1. Russia Under the Mongolian Yoke (Русь под игом монгольским)
2. Song About Alexander Nevsky (Песня об Александре Невском)
3. The Crusaders in Pskov (Крестоносцы во Пскове)
4. Arise, Men of Russia (Вставайте, люди русские)
5. The Battle on Ice (Ледовое побоище)
6. The Field of the Dead (Мертвое поле)
7. Alexander's Entry into Pskov (Въезд Александра во Псков)
I don’t expect everyone to latch onto this immediately. Some may never embrace it. Prokofiev’s music has often been likened to “white hot emotion.” But imagine music without emotion, as we all easily can. In music, I fear sterility, mechanicality, neuroticism, and affectation much more than I do “too much emotion,” or romanticism, or even hysteria, for that matter, since that, too, is a genuine human experience. After all, music is mere pitch and pulse, which both strike the synapses directly, in waves of sound, not waves of light as in some of the other fine arts (painting, architecture, etc.). Nor does it hit us vicariously or telepathically (as in poetry, etc.). As Murray Perahia has, I think, correctly posited, music is not some major intellectual exercise. Far from it. Some have tried to over-intellectualize it, but they mostly only succeed at dessicating it to the point where the slightest puff can blow it into oblivion, if that’s not where it came from in the first damn place. To my way of thinking, music is mostly just emotion---pitch and pulse that, at their best, translate into meaning and often explore universals that we haven’t yet found words to express. Some can’t stomach the sentimentality of Romanticism. Others will not brook the so-called frigidity of the Baroque. Many here in the American West can tolerate naught but Country Western. My sis-in-law rejects all but heavy metal. Who cares? I’m pretty tired of hearing the complaints of all these “nattering nabobs of negativity.” I accept quality in any genre, even if it is rap.
A relative of mine worked as a nurseryman, growing beautiful flowers most of his life. I always loved seeing his handiwork, but one day it occurred to me just how benign his chosen occupation was. No one ever said to him, “Oh, I HATE flowers!” Or “I can’t stand the red variety!” No one ever said, “Why do you waste your time with all those garish color-induced feelings?” C’mon, everyone loves flowers, don’t they? But when it comes to music, whoo boy, watch out! Don’t dare to say you like something someone else might reject unless you want to be sucker-punched with some major wrath. They foam at the mouth over this or that pet peeve as if they were talking about something permeated with empirical, scientific objectivity. It’s ridiculous and foolish. Music is hated almost as much as it is loved. Strange beast.
But back to Nevsky. Don’t miss the two episodes of sublime counterpoint in the string section here---woodwinds join them in the first. One YouTube commentator marveled at Prokofiev’s orchestration. Like Rimsky-Korsakov and Tchaikovsky before him, he was a magician and a fantast. I’m also a sucker for the all-male chorus sections. Revel in all that laryngeal gigantism---surrounded by the kind of neck muscle common in American football. I think of all the guttural depth I’ve heard in the throats of eastern Euro porn stars.
In both battle and build-up here, I feel the primitive landscape, the horror of lacerative war before the age of small firearms “sanitized” it, the political backwardness, the impoverishment, the collective insanities of “conviction” and tribalism, even the giddiness of “shell” shock and the abandonment of any semblance of self-preservation. But I also hear that "thing with feathers,” as Emily Dickinson so eloquently christened it, “the little bird that kept so many warm.” “I’ve heard it in the chillest land”:
Despite his signature sarcasms, bombast, and primitivism, Prokofiev believed in the importance of lyricism. Thus he left the world many melodies that are quite unforgettable, including those from cherished masterpieces like his Fifth Symphony and Romeo and Juliet. Fonteyn and Nureyev were the first to do the latter any justice, and I cut my teeth on what is still my preferred recording: Andre Previn conducting the LSO.
But this cantata really surprised me. Since Woody Allen’s Love and Death, I’ve been fond of its most famous theme, of course, but I had no idea its other themes were so interesting. Perhaps Alexander Nevksy really is one of the greatest film scores ever composed, just as many critics have contended. Erasing the need for dramatic accompaniment, the cantata draws all together much more cohesively.
Prokofiev did the same with The Fiery Angel, his failed opera completed in the mid- to late 1920s, by turning it into his Third Symphony, which I love. Early critics bemoaned the opera’s “hysterical” program---demonic possession, mystical visitation, and the Inquisition in medieval Germany (yeah, I’m not kidding)---but recent performances have improved its lot, and now I like the opera too. Most likely that’s because I know the symphony, the opera’s favored son, so well.
I’ve listened to the two following performances many times now and there’s a lot I love about both. In Barcelona, it’s a little unique to see an old frau or grandma wailing over husband, sons or grandsons in the Field of the Dead. I think the role is actually written for a younger woman lamenting the slaughter of so many potential lovers. Some dark humor there. But I love the South Korean contralto as well. I’ve always thought this music was about struggle and resolve, but now I feel it is mostly about survival. With the screw-loose megalo hovering over them like a mushroom cloud to the north, Seoul’s fervor becomes all the more hypnotic. The Soviet holdover retarding Russia right now may also be relevant, especially to members of this site. Here are the movements:
Alexander Nevsky Cantata (1938-39)
1. Russia Under the Mongolian Yoke (Русь под игом монгольским)
2. Song About Alexander Nevsky (Песня об Александре Невском)
3. The Crusaders in Pskov (Крестоносцы во Пскове)
4. Arise, Men of Russia (Вставайте, люди русские)
5. The Battle on Ice (Ледовое побоище)
6. The Field of the Dead (Мертвое поле)
7. Alexander's Entry into Pskov (Въезд Александра во Псков)
I don’t expect everyone to latch onto this immediately. Some may never embrace it. Prokofiev’s music has often been likened to “white hot emotion.” But imagine music without emotion, as we all easily can. In music, I fear sterility, mechanicality, neuroticism, and affectation much more than I do “too much emotion,” or romanticism, or even hysteria, for that matter, since that, too, is a genuine human experience. After all, music is mere pitch and pulse, which both strike the synapses directly, in waves of sound, not waves of light as in some of the other fine arts (painting, architecture, etc.). Nor does it hit us vicariously or telepathically (as in poetry, etc.). As Murray Perahia has, I think, correctly posited, music is not some major intellectual exercise. Far from it. Some have tried to over-intellectualize it, but they mostly only succeed at dessicating it to the point where the slightest puff can blow it into oblivion, if that’s not where it came from in the first damn place. To my way of thinking, music is mostly just emotion---pitch and pulse that, at their best, translate into meaning and often explore universals that we haven’t yet found words to express. Some can’t stomach the sentimentality of Romanticism. Others will not brook the so-called frigidity of the Baroque. Many here in the American West can tolerate naught but Country Western. My sis-in-law rejects all but heavy metal. Who cares? I’m pretty tired of hearing the complaints of all these “nattering nabobs of negativity.” I accept quality in any genre, even if it is rap.
A relative of mine worked as a nurseryman, growing beautiful flowers most of his life. I always loved seeing his handiwork, but one day it occurred to me just how benign his chosen occupation was. No one ever said to him, “Oh, I HATE flowers!” Or “I can’t stand the red variety!” No one ever said, “Why do you waste your time with all those garish color-induced feelings?” C’mon, everyone loves flowers, don’t they? But when it comes to music, whoo boy, watch out! Don’t dare to say you like something someone else might reject unless you want to be sucker-punched with some major wrath. They foam at the mouth over this or that pet peeve as if they were talking about something permeated with empirical, scientific objectivity. It’s ridiculous and foolish. Music is hated almost as much as it is loved. Strange beast.
But back to Nevsky. Don’t miss the two episodes of sublime counterpoint in the string section here---woodwinds join them in the first. One YouTube commentator marveled at Prokofiev’s orchestration. Like Rimsky-Korsakov and Tchaikovsky before him, he was a magician and a fantast. I’m also a sucker for the all-male chorus sections. Revel in all that laryngeal gigantism---surrounded by the kind of neck muscle common in American football. I think of all the guttural depth I’ve heard in the throats of eastern Euro porn stars.
In both battle and build-up here, I feel the primitive landscape, the horror of lacerative war before the age of small firearms “sanitized” it, the political backwardness, the impoverishment, the collective insanities of “conviction” and tribalism, even the giddiness of “shell” shock and the abandonment of any semblance of self-preservation. But I also hear that "thing with feathers,” as Emily Dickinson so eloquently christened it, “the little bird that kept so many warm.” “I’ve heard it in the chillest land”:
Last edited:
bigsal
Super Vip
- Joined
- Mar 6, 2011
- Messages
- 5,855
- Reaction score
- 26
- Points
- 0
I was inspired from this video to talk about Giuseppe Sinopoli, conductor, composer, essayist, and among other things, passionate about archeology.
He died suddenly in Berlin (2001). Died of a heart attack while he was directing Giuseppe Verdi's Aida at the Deutsche Oper.
The greatness of this man is not given as much by its multipurpose activities, but because he coined this phrase that deserves to be remembered for ever:
"The music is quantity, extent, in the period in which it is made or on the point where the instrument, stimulated by the musician, the produces.
Here she completes a jump mysterious: what we hear is immaterial and the moment when we perceive it disappears to become a memory.
The music is the sign most sublime of our transience. The music, like Beauty, shines and passes to become the memory, our deepest nature. We are our memory"
Schoenberg-Bach
Schoenberg's interesting orchestral transcription of a well-worn chestnut, J. S. Bach's "Schmücke Dich, O liebe Seele" ("Decorate yourself, O dear soul," BWV 654), one of the Leipzig Chorales for organ---Escherbach conducting the Houston Symphony Orchestra:
Schoenberg's interesting orchestral transcription of a well-worn chestnut, J. S. Bach's "Schmücke Dich, O liebe Seele" ("Decorate yourself, O dear soul," BWV 654), one of the Leipzig Chorales for organ---Escherbach conducting the Houston Symphony Orchestra:
currently learning this piece
i like her interpretation
even slightly better than Rubinstein and Pollini
LOVE Lisitsa's playing! Silky touch. Exquisitely filmed too. Last few bars almost seem like slo-mo. However, your YouTube code was either incorrect or didn't work for me, so I'm reposting it:
Good luck with the D Flat Major Nocturne. The Nocturnes are so much fun to play and so perfectly composed, as are most of Chopin's works. Thanks for steering us to this vid. The ValentinaLisitsa channel has a lot of gems like this.
haiducii
Super Vip
- Joined
- Mar 22, 2010
- Messages
- 55,229
- Reaction score
- 94,715
- Points
- 167
Spider9999
New member
- Joined
- Aug 19, 2009
- Messages
- 4
- Reaction score
- 0
- Points
- 0
I like Tschaikowsky - sometimes in a way melancholic, but georgous anyway
renebi1981
Junior Member
- Joined
- Oct 14, 2008
- Messages
- 33
- Reaction score
- 0
- Points
- 6
love brahms...
Let's celebrate Johann Michael Haydn on his birthday.
14 September 1737 – 10 August 1806
Not to mix up with his brother Franz Joseph, who was cool too but not such a cool dude like Johann Michael.
Johann Michael Haydn lived in Salzburg and was the boss of Mozart's father Leopold Mozart, which may not have served their relationsship. But WAM adored him very much and always wrote his sis to invite him.
Posted a trillion times before by me, the Missa pro defuncto Archiepiscopo Sigismundo, and of course you all know it as the "Schrattenbach-Requiem" :thumbs up:
Yeah, he's still underestimated. There are only a handful recordings of his works and only a few of those can be called decent. To bad but "happy birthday, dude!"
14 September 1737 – 10 August 1806
Not to mix up with his brother Franz Joseph, who was cool too but not such a cool dude like Johann Michael.
Johann Michael Haydn lived in Salzburg and was the boss of Mozart's father Leopold Mozart, which may not have served their relationsship. But WAM adored him very much and always wrote his sis to invite him.
Posted a trillion times before by me, the Missa pro defuncto Archiepiscopo Sigismundo, and of course you all know it as the "Schrattenbach-Requiem" :thumbs up:
Yeah, he's still underestimated. There are only a handful recordings of his works and only a few of those can be called decent. To bad but "happy birthday, dude!"