- Apr 10, 2001
- 48,775
- 3
- 81
1. Mahler: Das Lied von der Erde - Der Abschied (the 6th Movement)
me:
It starts with power and presence and circles around, finding its footing rather slowly.
A rather melancholy tune, it is filled with grand musical landscapes that quickly transform themselves into small rooms of hopelessness. If anything, without being able to understand what the Austrian was talking about, it seems like a tale of reflection.
from wiki:
.WAV (293MB)
2. Dvorak: Slavonic Dances E Minor, Op. 72 - Allegretto Grazioso
me:
Rarely do you such moving pieces. It's rather easy to picture the dances in your heads, dancers floating about as if in the clouds. The grace with which the tempo goes in and out of Allegro is incredibly relaxing.
from wiki:
.WAV (61MB)
3. Shostakovich: Sinfonía No. 5 Op. 47 - II. Allegretto
from me:
This symphony is one of my favs. It has pop and circumstance and yet squabbles about as if toying with each instrument section. What can I say...it's a piece that moves in and out o f something jovial and in and out of the fury of a full orchestra playing its heart out
.
from wiki:
.WAV (56MB)
me:
It starts with power and presence and circles around, finding its footing rather slowly.
A rather melancholy tune, it is filled with grand musical landscapes that quickly transform themselves into small rooms of hopelessness. If anything, without being able to understand what the Austrian was talking about, it seems like a tale of reflection.
from wiki:
as Lied von der Erde ("The Song of the Earth") is a large-scale work for two vocal soloists and orchestra by the Austrian composer Gustav Mahler. Laid out in six separate movements, each of them an independent song, the work is described on the title-page as Eine Symphonie für eine Tenor- und eine Alt- (oder Bariton-) Stimme und Orchester (nach Hans Bethges "Die chinesische Flöte") ('A Symphony for One Tenor and One Alto (or Baritone) Voice and Orchestra (After Hans Bethge's 'The Chinese Flute')'). Mahler's copious use of 'Chinese' characteristics in the music marks the work as unique in his output. Composed in the years 1907?1909, it followed the Eighth Symphony?but was not given a number, allegedly because of the composer's superstitious fear of the supposedly 'mortal significance' of a 'ninth symphony'.[citation needed] The work takes approximately sixty-five minutes in performance.
.WAV (293MB)
2. Dvorak: Slavonic Dances E Minor, Op. 72 - Allegretto Grazioso
me:
Rarely do you such moving pieces. It's rather easy to picture the dances in your heads, dancers floating about as if in the clouds. The grace with which the tempo goes in and out of Allegro is incredibly relaxing.
from wiki:
The Slavonic Dances are a series of 16 orchestral pieces composed by Antonín Dvorák in 1878 and 1886 and published in two sets as Opus 46 and Opus 72 respectively. Originally written for piano four hands, the Slavonic Dances were inspired by Johannes Brahms's own Hungarian Dances and were orchestrated at the request of Dvorák's publisher soon after composition. The pieces, lively and overtly nationalistic, were well received at the time and today are among the composer's most memorable works, occasionally making appearances in popular culture.
.WAV (61MB)
3. Shostakovich: Sinfonía No. 5 Op. 47 - II. Allegretto
from me:
This symphony is one of my favs. It has pop and circumstance and yet squabbles about as if toying with each instrument section. What can I say...it's a piece that moves in and out o f something jovial and in and out of the fury of a full orchestra playing its heart out
.
from wiki:
Symphony No. 5 in D minor (Opus 47) by Dmitri Shostakovich was written between April and July of 1937 and first performed in Leningrad by the Leningrad Philharmonic Orchestra under Yevgeny Mravinsky, on 21 November that year. The work was a huge success, and is said to have received an ovation of half an hour (or a whole hour, according to Mstislav Rostropovich[citation needed]). It is still one of his most popular works.
The second movement is a very playful dance-like tune. Shostakovich uses a playful grace note throughout the melodies. The sound goes from a light dance in the bassoon and contrabassoon to majestic triumph in the brass.
.WAV (56MB)