Operetta - Various - Orchestral Fantasia (CD, Album)
C Premiere Portraits: Franziska Lee. C Walter Braunfels. C CH. C Grigori Frid. C Max Bruch. C PH. C A. C 4CD-Box E.
Violins, viola, cello string quartettwo pianos, flute, and glass harmonica. The melody is played by the flute, backed by the strings, and glass harmonica on top of tumultuous, glissando -like runs and arpeggios in pianos. These figures, plus the occasional glissando from the glass harmonica towards the end—often played on celesta or glockenspiel —are evocative of a peaceful, dimly lit aquarium. Two violins: this is the shortest of all the movements.
The violins alternate playing high, loud notes and low, buzzing ones in the manner of a donkey's braying "hee-haw". Music critics have speculated that the movement is meant to compare music critics to braying donkeys. Strings, pianos and flute: the high strings take on a background role, providing a buzz in the background that is reminiscent of the background noise of a jungle.
The cellos and basses play a pickup cadence to lead into most of the measures. The flute takes the part of the bird, with a trilling tune that spans much of its range. The pianos provide occasional pings and trills of other birds in the background.
The movement ends very quietly after a long ascending chromatic scale from the flute. Strings and two pianos: this humorous movement satirizing pianists as animals is a glimpse of what few audiences ever get to see: the pianists practicing their finger exercises and scales. Each one starts with a trill on the first and second note, then proceeds in scales with a few changes in the rhythm. Transitions between keys are accomplished with a blasting chord from all the instruments between scales.
In some performances, the later, more difficult, scales are deliberately played increasingly out of time. The original edition has a note by the editors instructing the players to imitate beginners and their awkwardness. This movement is unusual in that the last three blasted chords do not resolve the piece, but rather lead into the next movement. The musical themes from Danse macabre are also quoted; the xylophone and the violin play much of the melody, alternating with the piano and clarinet.
Allusions to " Ah! The movement ends with the xylophone theme first played by the xylophone and strings, but is soon taken over by almost all the instruments.
Two pianos and cello: a slowly moving cello melody which evokes the swan elegantly gliding over the water is played over rippling sixteenths in one piano and rolled chords in the other. Pavlova gave some 4, performances of the dance and "swept the world.
Full ensemble: the finale opens on the same trills in the pianos as in the introduction, but soon the wind instruments, the glass harmonica and the xylophone join in. The strings build the tension with a few low notes, leading to glissandi by the piano before the lively main melody is introduced. The Finale is somewhat reminiscent of an American carnival of the 19th century, with one piano always maintaining a bouncy eighth-note rhythm. Many of the previous movements are quoted here from the introduction, the lion, the donkeys, hens, and kangaroos.
The work ends with a series of six "Hee Haws" from the donkeys, as if to say that the donkey has the last laugh, before the final strong group of C major chords. As the title suggests, the work is programmatical and zoological. Elton John 's " Pinball Wizard " from Tommy. Main article: Tommy soundtrack. British Board of Film Classification. Retrieved 22 May New York Times 23 June Box Office Mojo. Retrieved 22 January Retrieved 29 November Retrieved 4 May Retrieved 23 December The Who on record : a critical history, Jefferson, N.
ISBN OCLC Los Angeles Times 17 Nov p Film Comment; New York Operetta - Various - Orchestral Fantasia (CD. The Christian Science Monitor. Los Angeles Times 16 Feb z Los Angeles Times 17 Nov b5. Los Angeles Times 12 Aug e1. Los Angeles Times 20 Dec e Chicago Tribune 12 Feb b2. Sight and Sound; London Vol. Umbrella Entertainment. The News. Retrieved 14 August Archived from the original on 28 December Archived from the original on 25 September Retrieved 25 September Siskel, Gene.
Chicago Tribune 27 Oct f5. Orchestrating Columbia's Forward March. Los Angeles Times, 17 August t Robert Stigwood: Super Producer on the Move. Los Angeles Times, 25 December o Rotten Tomatoes. With the release of his new album Exile, a reflection on exile with the Baltic Sea Orchestra, the iconoclast and prolific pioneer of the neo-classical movement confirms his status Operetta - Various - Orchestral Fantasia (CD one of the most ideologically committed artists out there.
Melding classical and electronic music, physical and emotional worlds, he produces instrumental works of rare evocative power. Richard Wigmore introduces an enduring and vividly communicative dramatic form Categories: All Back.
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This particular violin came to be known as Il Cannone Guarnerius "The Cannon of Guarnieri" because of its powerful voice and resonance. Of his guitars, there is little evidence remaining of his various choices of instrument.
The aforementioned guitar that he gave to Berlioz is a French instrument made by one Grobert of Mirecourt. Of the guitars he owned through his life, there was an instrument by Gennaro Fabricatore that he had refused to sell even in his periods of Album) stress, and was among the instruments in his possession at the time of his death.
There is an unsubstantiated rumour that he also played Stauffer guitars; he may certainly have come across these in his meetings with Giuliani in Vienna. Paganini composed his own works to play exclusively in his concerts, all of which profoundly influenced the evolution of violin technique. His 24 Caprices were likely composed between andwhile he was in the service of the Baciocchi court.
Also during this period, he Operetta - Various - Orchestral Fantasia (CD the majority of the solo pieces, duo-sonatas, trios, and quartets for the guitar, either as a solo instrument or with strings.
These chamber works may have been inspired by the publication, in Lucca, of the guitar quintets of Boccherini. His six violin concertos were written between and Generally speaking, Paganini's compositions were technically imaginative, and the timbre of the instrument was greatly expanded as a result of these works.
Sounds of different musical instruments and animals were often imitated. One such composition was titled Il Fandango Spanolo The Spanish Dancewhich featured a series of humorous imitations of farm animals.
Even more outrageous was a solo piece Duetto Amorosoin which the sighs and groans of lovers were intimately depicted on the violin. There survives a manuscript of the Duettowhich has been recorded. The existence of the Fandango is known only through concert posters. In this, his style is consistent with that of other Italian composers such as Giovanni PaisielloGioachino Rossini, and Gaetano Donizettiwho were influenced by the guitar-song milieu of Naples during this period.
The Israeli violinist Ivry Gitlis once referred to Paganini as a phenomenon rather than a development. Though some of the techniques frequently employed by Paganini were already present, most accomplished violinists of the time focused on intonation and bowing techniques. Arcangelo Corelli — was considered a pioneer in transforming the violin from an ensemble instrument to a solo instrument. Other notable violinists included Antonio Vivaldi — and Giuseppe Tartini —who, in their compositions, reflected the increasing technical and musical demands on the violinist.
Although the role of the violin in music drastically changed through this period, progress in violin technique was steady but slow. Techniques requiring agility of the fingers and the bow were still considered unorthodox and discouraged by the established community of violinists. During Paganini's study in Parma, he came across the 24 Caprices of Locatelli entitled L'arte di nuova modulazione — Capricci enigmatici or The art of the new style — the enigmatic caprices.
Published in the s, they were shunned by the musical authorities for Operetta - Various - Orchestral Fantasia (CD technical innovations, and were forgotten by the musical community at large. Around the same time, Durand, a former student of Giovanni Battista Viotti —became a celebrated violinist.
He was renowned for his use of harmonics, both natural and artificial which had previously not been attempted in performanceand the left hand pizzicato in his performance. Paganini was instrumental in the revival and popularization of these violinistic techniques, which are now incorporated into regular compositions.
Another aspect of Paganini's violin techniques concerned his flexibility. He had exceptionally long fingers and was capable of playing three octaves across four strings in a hand span, an extraordinary feat even by today's standards.
His seemingly unnatural ability may have been a result of Marfan syndrome. The Caprice No. The Paganini Competition Premio Paganini is an international violin competition created in in his home city of Genoa and named in his honour.
Heyer Library of Cologne. They are housed at the Biblioteca Casanatense in Rome. In the city of Genoa commissioned a thematic catalogue of music by Paganini, edited by Maria Rosa Moretti and Anna Sorrento, hence the abbreviation "MS" assigned to his catalogued works.
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