Musicisti “sui genesis”

Wednesday November 26th, 2008 di D.

From a dense forest of tall, dark, pinewood,
Mount Ida rises like an island.
Within a hidden cave, nymphs had kept a child;
Hermaphroditus, son of gods, so afraid of their love.

As the dawn creeps up the sky
The hunter caught sight of a doe.
In desire for conquest,
He found himself, within a glade he’d not beheld before.
Hermaphroditus: Narrator:
“Where are you my father “Then he could go no farther
Give wisdom to your son” Now lost, the boy was guided
by the sun”

And as his strength began to fail
He saw a shimmering lake.
A shadow in the dark green depths
Distrubed the strange tranquility.
Salmacis: Narrator:
“The waters are disturbed “The waters are disturbed
Some creature has been stirred” The naiad queen Salmacis
has been stirred”

As he rushed to quench his thirst,
A fountain spring appeared before him
And as his heated breath brushed through the cool mist,
A liquid voice called “Son of gods, drink from my spring”.

The water tasted strangely sweet.
Behind him the voice called again.
He turned and saw her, in a cloak of mist alone
And as he gazed, her eyes were filled with the darkness of the lake.
Salmacis: Narrator:
“We shall be one “She wanted them as one
We shall be joined as one” Yet he had no desire to be one”

Hermaphroditus: “Away from me cold-blooded woman
Your thirst is not mine”
Salmacis: “Nothing will cause us to part
Hear me O gods”

Unearthly calm descended from ther sky
And then their flesh and bones were strangely merged
Forever to be joined as one.

The creature crawled into the lake
A fading voice was heard:
“And I beg, that all who touch this spring
May share my fate”
Salmacis: Narrator:
“We are the one “The two are now made one,
We are the one”. Demi-god and nymph are now made one”

Both had given everything they had.
A lover’s dream had been fulfilled at last,
Forever still beneath the lake.

Bach il burlone

Thursday November 20th, 2008 di D.

Sorry, this entry is only available in Italiano.

Beethoven, sinfonie trascritte per pf: Liszt vs Singer

Wednesday November 19th, 2008 di D.

Some ideas after the collation and comparison of some piano reductions of Symphonies by Beethoven.

This is the first article of the project I was writing about in the article “Piano arrangements from 19th century and interpretation”.

When we compare the piano “arrangements” of the Beethoven’s symphonies by Franz Liszt (Breitkopf & Haertel, Leipzig 1840 and Haslinger, Wien, 1840: I didn’t notice differences between these edition and those by Breitkopf 1871 and the Durand 9618-20 (1919) I’ve got) and Otto Singer (Peters, 1905), we notice first of all two different purposes.
Both of them were very good pianists, but whereas Singer tries to semplify the orchestral score so much as possible, just to show what the melodies and harmonies are, Liszt wonts to realise with the piano his own idea of the Beethoven’s symphonies.
The Singer’s “arrangement” is a tipical good piano reduction of an orchestral score.
The Liszt’s “arrangement” is the re-composition of the musical idea of a symphony.
If we want to play a concertpeace, we’ll play for sure the Liszt’s one.
But if we want to study Beethoven’s composition we will find there too much Liszt’s and it will be much better to use Singer’s trascriptions.

The only changes Singer makes are the tipical “piano translations” of tremoli, pizzicati, timpani’s rolls: it is always possible to understand what was written in the orchestral score or even to complete it. The notes are easy to play and it is possible to understand all phrases and melodie’s movements.

Liszt never changes the original structures (it’s transcriptions and not “phantasies on themes from…” we’re speaking about), dinamics or harmonies (exept for timpani’s rolls, where he decided often to change the position of the chord to give a better effect of the timpanis: with the old pianos it was the best solution, today the effect is too noisy). And you must be really a good pianist to make music from these arrangements…
His main variations to the original are (I don’t mention the tipical variations of piano reductions, but only the ones that are “altering” the original idea by Beethoven):
- Alteration of notes (ex: S1 I b.126; S2 IV b.145; S4 I b.289; S5 IV b.705)
- triplets instead of semiquavers (ex: S1 I b.95, 198, 285; S3 I b.440, )
- arpeggios instead of semiquavers (ex: S1 I b.138),
- addition of octaves up and down (ex: S5 IV b.702, 705)
[For barnumbers see the last articles of this blog; you can find all the scores I’m speaking about at Beethoven’s works].

When I’ll find the time, I’ll write something about the collation of the fourhand piano transriptions (reductions, adaptations, settings, arrangements…) of the same symphonies by Hugo Ulrich (Peters 6312, year 1880), Czerny (Richault 2066, year 1836) e Scharwenka (Universal 970, year 1905)

If you find errors in this article or you know other websites in which it is possible to find informations like these (maybe for others composers or compositions too), please leave a comment! For instance, all the dictionaries are not clear about the difference in English between piano transriptions, reductions, adaptations, settings, arrangements…

Davide

Beethoven, sinfonie. Altri riferimenti utili: lettere

Tuesday November 18th, 2008 di D.

As conclusion of the articles of last week about barnumbers in the symphonies by Beethoven, today I’m going to write the letters, which are used by the players in orchestra.

Often you’ll find in the orchestral parts only the letters and not the barnumbers (number of the measures): so, these letters can be very helpful by more »

Beethoven: numeri di battuta delle sinfonie 7 e 8

Sunday November 16th, 2008 di D.

I write here the numbers of the bars of the symphonies 7 and 8 by Beethoven.

I’ll write the barnumber of the top of the page in the Litolff edition; that’s the same edition used from Dover edition (I’ll also write the pages of the dover edition).

I think it can be useful for more »

Beethoven: numeri di battuta delle sinfonie 5 e 6

Saturday November 15th, 2008 di D.

I write here the numbers of the bars of the symphonies 5 and 6 by Beethoven.

I’ll write the barnumber of the top of the page in the Litolff edition; that’s the same edition used from Dover edition (I’ll also write the pages of the dover edition).

I think it can be useful for more »

Seminario “Il Weihnachtsoratorium di Bach” a Trento, 5 e 6 dicembre 2008

Friday November 14th, 2008 di D.

My next lecture will be “Bach’s Christmas Oratorio”, 5. and 6. december 2008, Trento (Italy).
The lecture will be in English, Italian and German.
More infos at Lectures at Concentus Clivi

Beethoven: numeri di battuta delle sinfonie 3 e 4

Thursday November 13th, 2008 di D.

I write here the numbers of the bars of the symphonies 3 and 4 by Beethoven.

I’ll write the barnumber of the top of the page in the Litolff edition; that’s the same edition used from Dover edition (I’ll also write the pages of the dover edition).

I think it can be useful for more »

Beethoven: numeri di battuta delle sinfonie 1 e 2

Wednesday November 12th, 2008 di D.

I write here the numbers of the bars of the symphonies 1 and 2 by Beethoven.

I’ll write the barnumber of the top of each page in the Litolff edition; that’s the same edition used from Dover edition (I’ll also write the pages of the dover edition).

I think it can be useful for more »

Dirigenten als Gefuehlsquelle…

Monday November 10th, 2008 di D.

Sorry, this entry is only available in Deutsch and Italiano.

Rodari, Endrigo e radici sane

Sunday November 9th, 2008 di D.

Sorry, this entry is only available in Italiano.

INTONAT a Mariano del Friuli, 14-16 novembre 2008

Saturday November 8th, 2008 di D.

My next lecture about intonation and pure intonation (INTONAT) will be in Mariano del Friuli (Italy), on 14th, 15th, and16th november 2008.
Info at http://www.uscifvg.it/intonat08.htm

Corali: tempo d’esecuzione

Thursday November 6th, 2008 di D.

Sorry, this entry is only available in Italiano.

Czerny e i pistoni

Sunday November 2nd, 2008 di D.

Sorry, this entry is only available in Italiano.