In Listen to This, Alex Ross, the music critic for The New Yorker, looks both backward and forward in time, capturing essential figures and ideas in classical-music history, as well as giving an alternative view of recent pop music that emphasizes the power of the individual musical voice in whatever genre. Ross combines a selection of his New Yorker essays with new material that will serve as an introduction to some basic classical-music concepts and figures and will give an alternative view of recent pop music. It will demonstrate the essential equality of great musical creators in whatever genre. It begins with 'Listen to This', his most famous New Yorker essay, an autobiographical account of his early passion for classical music and belated discovery of pop music in college. It sets forth the themes of the book as a whole: how classical music can become a vital part of wider contemporary culture, how it can survive and even prosper in the face of proclamations of its decline. There follows a new essay tracing the history of the chaconne, a dance form based on a descending bass line, which originated as an erotic Afro-Caribbean dance in the 16th century, then migrated to Europe and inspired such Baroque masterpieces as Bach's Chaconne in D minor, and later found echoes in the bass lines both of 20th-century classical masterpieces and African-American blues. Led Zeppelin's 'Dazed and Confused' and Bob Dylan's 'Simple Twist of Fate', among other songs, extend the principle. This chapter develops, in a less personal way, the themes of 'Listen to This', and serves as a kind of whirlwind tour of five centuries of music history. Third in the introductory section is 'The Record Effect', an account of technology's impact on pop and classical music. 1. Language: English. Narrator: Alex Ross. Audio sample: http://samples.audible.de/bk/hcuk/000680/bk_hcuk_000680_sample.mp3. Digital audiobook in aax.
André Rossi (Orgel) - Jean-Luc Di Fraya (Percussion) - Michel Péres (Double Bass) - Quatuor Manfred - Gérard Lesne (Countertenor) -- An inscrutable attempt by French saxophonist Imbert to link Bach and Coltrane spiritually by focusing on their church-rooted music, in which a dialogue occurs between jazz improvisers, baroque organ and the Manfred string quartet.
Peter Kooij is one of the leading bass singers in the early music scene, which becomes even clearer on his new CD 'Die stille Nacht' (The silent night) with Passion cantatas for solo bass by Telemann. His agile voice, the simple, yet rich timbre, the well-dosed expressive power: All of this shows Kooij's elegant musicality and makes him an ideal baroque singer, especially for the atmospheric cantatas by Telemann.
Carolyn Sampson (Sopran) - Jeremy Ovenden (Tenor) - Andrew Foster-Williams (Bass) - Wroclaw Baroque Orchestra - Wroclaw Philharmonic Choir // The Gabrieli Consort continue their series of award-winning collaborations with the National Forum of Music, Wroclaw, Poland with a new version of Haydn's great Oratorio "The Seasons".
Vox Luminis directed by the bass Lionel Meunier is now acknowledged as belonging among the world's elite vocal ensembles, especially for its interpretations of German Baroque sacred music.
Domenico Alberti was an Italian singer, harpsichordist, and composer whose works bridge the Baroque and Classical periods. Alberti was born in Venice and studied music with Antonio Lotti. He wrote operas, songs, and sonatas for keyboard instruments, for which he is best known today. These sonatas frequently employ a particular kind of arpeggiated accompaniment in the left hand that is now known as the Alberti bass. It consists of regular broken chords, with the lowest note sounding first, then the highest, then the middle and then the highest again. This pattern is repeated. Today, Alberti is regarded as a minor composer, and his works are played or recorded only irregularly. The Alberti bass was used by many later composers, and it became an important element in much keyboard music of the Classical music era. In his own lifetime, Alberti was known as a singer. He often used to accompany himself on the harpsichord. Little is known of his life, but he was Venetian ambassador to Spain in 1736, where the famous castrato singer Farinelli heard him sing. Farinelli was said to have been impressed, although Alberti was an amateur
Staeps (rightly) believes that the English Baroque is the fountainhead of recorder music, and that Purcell's music is the perfect vehicle. Here, he takes six excerpts from The Fairy Queen (introductions and dances) and fashions a Suite for recorder quartet with basso continuo (keyboard instrument with another bass instrument playing an octave lower than the bass recorder). For advanced quartets. Reprint of the 1957 UE original.Instrumentation:for recorder quartet and harpsichord (piano)
Bach composed the Trio Sonatas for organ BWV 525 &#8211; 530 between 1727 and 1730 when he was Thomaskantor in Leipzig. Bach&#8217;s first biographer Johannn Nikolaus Forkel states that he composed them for his son Wilhelm Friedemann, &#8220;who had to practice them in order to become the great organist he later turned into. One cannot say enough about their beauty.&#8220; As early as the middle of the 18th century, the first arrangement for violin, violoncello and bass was written. Countless versions for other instruments followed. Mozart arranged three movements for violin, viola and violoncello. In the 20th century Bartók and Kabalevsky made versions for piano solo. The trio sonata as a baroque genre usually employs four players: two solo parts (violin, flute or oboe), a bass part (violoncello, violone or bassoon) and the continuo part (organ, harpsichord or flute). Bach&#8217;s Sonatas for organ require highly independent hands and feet and subtle differentiation to portray the three parts as two individual instruments accompanied by a bass line. Obviously, the pedal part is not as virtuosic as it would be for the left hand of a keyboard player. And that makes it even more suitable for a less experienced tenor or baritone saxophone player in the present edition. To give those players who are not yet familiar with baroque music some ideas, I have included a few suggestions. Bach gave tempo instructions for all but the first movement. The metronome markings provide some orientation; the players should adjust the tempo according to their musical taste and capabilities. Except for the slurs at the beginning of the second movement, there are no further articulations in the manuscript. The articulations in this edition do not need to be taken literally; a slur does not always mean legato &#8211; it rather represents a musical unit; slight tonguing won&#8217;t hurt the line. Likewise, the staccato dots do not always indicate short notes &#8211; they show upbeats which are not clearly visible, syncopations which could use emphasis or simply suggest separated eight notes (like in the theme of 1st movement). In general, larger intervals should be separated more clearly ; one will have to determine if they are accompaniment figures in argeggios (as is often the case in the bass part) or melodically significant lines. As the movements progress, the articulations in parallel or simi-lar passages were left out. A lot can be learned from this sonata, not only in regard to phrasing and articulation. And it is an extraordinary pleasure to play and perform it &#8211; the movements could hardly be more diverse in mood and character. To quote Forkel again: &#8220;One cannot say enough about their beauty.&#8220; Olaf Mühlenhardt, 3/2005 Instrumentation: 3 saxophones (SABar/SAT) BWV 525