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Here's one from Czech composer Vaclav Nelhybel. He was perhaps more known for his works for youth orchestras and bands which is when and where I discovered his music. This piece is "Music For Orchestra", one of my personal favorites.
Hello/Lacrimosa (or “Chello,” as it has affectionately been called in the studio) is a musical experiment bridging 18th century spiritualism and 21st century secularism. Imagine Mozart and Adele in the same room in an intense co-write session, quill and pen in hand, respectively. Picturing this hypothetical hangout helped to spark the creative combination of the two.
Haven’t heard “Lacrimosa” from Mozart’s Requiem? It is a powerful piece of music. Listen here. As you can hear, both tunes’ divergent traits presented challenges. One wallows in a wide, painstakingly minor 12/8 time and the other drives a poignant bi-polar major/minor common time. One draws its power from the fullness of a grand chorus and orchestra, the other from the isolation of a lone voice and piano. One conforms to age-old counterpart canon and musical theory, while the other is conveyed via verse/chorus pop song parlance. However, they share the same fundamental feeling -- “Lacrimosa" (meaning “weeping” or “tearful”) mournfully bemoans spiritual death, while “Hello” gripes about relationship regrets. Different centuries. Different realms. Same emotion. Perhaps we aren’t as far from our predecessors as we think we are.
You’ll hear towards the end of the tune an attempt by both motifs to meet in the middle as the two textured melodies intertwine. In their respective stories both plead for reconciliation. Neither seemed to find it apart, but together they sing of a second chance.
The sounds you hear were created by 100 tracks of acoustic and electric cello, an instrument that has been emoting for centuries – an apt candidate for the task of tying together “Hellocrimosa” (our alternate affectionate title).
This video was filmed at one of our favorite locations: Tuacahn Amphitheatre, utilizing different patterns and settings of giant mirrors, diffused light, and some very cold fog. How is the camera not reflected in the mirrors? Simple. Magic!
Giuseppe Tartini: The Devil's Trill, violin sonata.
Giuseppe Tartini (1692-1770), baroque composer and violinist, was born in the medieval town of Piran on the Adriatic coast. In Tartini's time Piran belonged to the republic of Venice, but today it belongs to Slovenia.
First heard it I was like I know this from somewhere!
Does anyone know what classical music the beginning of THIS SONG (starting from 0:00 to 0:10) is based on? :thinking: It sounds like a famous classical melody. Or am I wrong? :blushing:
Does anyone know what classical music the beginning of THIS SONG (starting from 0:00 to 0:10) is based on? :thinking: It sounds like a famous classical melody. Or am I wrong? :blushing:
Does anyone know what classical music the beginning of THIS SONG (starting from 0:00 to 0:10) is based on? :thinking: It sounds like a famous classical melody. Or am I wrong? :blushing:
The video is not available in Germany, so I used other sources.
There is a piano in the beginning but that's not a melody. Three notes repeating, going up, repetiton and going down and the same thing again.
It's more of a bassline you hear in many songs but more often in modern music.
I know there is a modern pop piece that starts quite alike, I guess you mean that. This one perhaps:
Emilia - Big big world?
As for the three notes:
A lot of baroque and classical music is build upon three (or more) notes repeating. Vivaldi, Bach used it often for fugues
Like here in the Magnificat at 3:26
BWV 21 at 3:00 , one of the earliest Bach cantatas and of the best at all.
Bach was deeply influenced by the italian style and incorportated it into his own style.
The most famous piece build on three knocks is this one here:
But fate didn't knock at the door in the first movement, the three knocks structure the other movements as well:
like here in 0:50 or in 7:50 at the beginning to the end of the third and in 9:40 in the fourth movement as well. And at 18:17 letting the symphony end just the way it started.
When people like Frans Brüggen, Gustav Leonhardt and Nikolaus Harnoncourt opened the display cases and took the historical instruments to use them it wasn't just an experiment (which has a history going back to the 1920s) but a
philosophical revolution - the end of the paradigma of never ending progess. When Mahler thought that Schumann's symphonies didn't work for the orchestra he used the rewrote the symphonies. Their idea was - maybe we should change the orchestra? We owe them a lot. Those who have bothered to watch the Beethoven above have noticed the historical trumpets used by the Chamber Orcestra.
Harnoncourt also had a faible for Strauss (he was austrian you know)
And btw. operettas were originally very satirical works back then, don't confuse them with the cheesed-up Andre Rieu versions you see on TV, those are products of the Kulturindustrie (cultural industry) that leave no place for irritation or estrangement. At least Theodor said that.
