Há 6 anos
On 22 January 1720 Bach began writing an instruction manual for the keyboard. This work, known as the Clavierbüchlein (Little Clavier Book), was writen for the express purpose of teaching his nine-year-old son, Wilhelm Friedemann, and thus is an extremely valuable record of Bach's teaching method. It begins with musical fundamentals such as the nemes of notes, the different clefs, and "applicatio" (fingering), and also contains a valuable explanation of the execution of various ornaments. The bulk of the Clavierbüchlein, however, comprises an assortment of little pieces among wich are the first versions of the works now known as the Two- and Three-part Inventions. Bach originally entitled the Inventions in two parts "Praeambula" and those in threee parts "Fantasias". No more than four sharps or flats are used on the fifteen keys chosen, and in the original ordering of the Clavierbüchlein a palindrome was formed by positioning the Inventions in parallel major and minor keys. In 1722 Bach began revising the Iventions, and a year later, after his arrival at the court in Cöthen, he grouped them together in an independent collection. In this 1723 manuscript the pieces in the 1720 Clavierbüchlein entitled Praeambula became "Inventions" and those called Fantasias were renamed "Sinfonias" (the term "invention" had a precedent in a set of duos for violin and bass by Bonporti entitled "Invenzioni", published in 1712, and the present-day tradition of referring to the Sinfonias as Three-part Inventions was initiated by Forkel, Bach's first biographer). ...
Eric Wen
Bach
Two-part Inventions, BWV 772a-786
Three-part Inventions, BWV 787-801
Andras Schiff, piano
Quality: mp3, varied kbps
Size: 76 MB
Erich Kleiber was born in Vienna in 1890 and died in Zürich in 1956, sadly denied the lenghthy Indian summer in the concert hall and recording studio enjoyed by Bruno Walter and Otto Klemperer, distinguished colleagues from Kleiber's Berlin days. Like Walter, Kleiber had been brought up in the richly productive environment of turn-of-the-century Vienna, a city dominated musically by the all-encompassing genius of Gustav Mahler. Though Kleiber was neither a pupil nor a disciple of Mahler, he often conducted Mahler's more avant-garde music (most interestingly the much maligned, notably 'classical' Seventh Symphony), and he grew up with a first-hand knowledge of Mahler's wonderfully clear-headed yet vital and supple way of conducting the music of Mozart, Beethoven, and their successors in the Viennese tradition. ...Richard Osborne
Beethoven
Symphony nr. 5 in C minor, Op. 67
Symphony nr. 6 in F major, Op. 68 'Pastoral'
Concertgebouw Orchestra
Erich Kleiber
Concertgebouw, Amsterdam, 1952
Quality: mp3, 320 kbps
Size: 175 MB
Symphony nr. 5 in C minor, Op. 67
Symphony nr. 6 in F major, Op. 68 'Pastoral'
Concertgebouw Orchestra
Erich Kleiber
Concertgebouw, Amsterdam, 1952
Quality: mp3, 320 kbps
Size: 175 MB
Schubert's relationship with the poetry of Goethe first flared up in October 1814 with Gretchen am Spinnrade. By the summer of 1816 the nineteen-year-old composer had produced forty-five Goethe settings, many among the world's greatest and best-loved songs. What excited Schubert about this poetry was its spontaneity of feeling, its richly sensuous imagery and its ecstatic eagerness to seize and glorify the moment. Goethe's sheer range, too, was dazzling, embracing folk idiom and ballad, love lyrics, nature poetry and verses like Ganymed, An Schwager Kronos and Prometheus that exult in the poet's quasi-divine powers. Then there was the uniquely musical quality of Goethe's verses: poems like Der Fischer and Schäfers Klagelied demand to be sung; and indeed, several songs in this recital, including Nähe des Geliebten, An den Mond and the exquisitely chaste, tender Nachtgesang are settings of verses that were directly inspired by pre-existing tunes.
Goethe's conception of the Lied was very much that of the late eighteenth century, as exemplified in the settings of his friend, Carl Zelter: a straighforward, often folk-like melody, simply accompanied, with the same music used for each verse. What the poet called "a false interest in detail" was to be deplored. When, in April 1816, Schubert sent fair copies of his Goethe songs to the great poet-sage in Weimar, the package was returned unacknowledged. But if Goethe had bothered to look at them he would have found that two, Heidenröslein and Der Fischer, accorded closely with his views on verse setting - indeed, a more elaborate treatment would have been inappropriate for these piquant folk ballads, wich make much of their effect through the cumulative power of repetition. ...
Goethe's conception of the Lied was very much that of the late eighteenth century, as exemplified in the settings of his friend, Carl Zelter: a straighforward, often folk-like melody, simply accompanied, with the same music used for each verse. What the poet called "a false interest in detail" was to be deplored. When, in April 1816, Schubert sent fair copies of his Goethe songs to the great poet-sage in Weimar, the package was returned unacknowledged. But if Goethe had bothered to look at them he would have found that two, Heidenröslein and Der Fischer, accorded closely with his views on verse setting - indeed, a more elaborate treatment would have been inappropriate for these piquant folk ballads, wich make much of their effect through the cumulative power of repetition. ...
BeethovenPiano Sonatas
Sonata Op. 53, "Waldstein"
Sonata Op. 81a, "Les Adieux"
Sonata Op. 110
Sonata Op. 27 nr.2, "Moonlight"
Nelson Freire, piano
DL Beethoven Sonatas
Quality: mp3, varied kbps
Size: 95 MB
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