This channel is dedicated to my idol, Dmitri Shostakovich
I'm a to-be electronics engineer, space explorer, physics lover (especially on areas of quantum mechanics, string theory, general relativity, particle physics and thermodynamics), a cinephile (who loves to watch obscure, disturbing, avant-garde films), pianist and composer (last two are too bad to handle)
And also a bad engraver, as certified by Hinton
I've started this, to impose my taste of music to people visiting my channel
My prime work isn't this so I post whenever I could
As far as I concern, I don't think so, only 1st and 2nd are recorded, but 1st is a private recording, which I have, but I cannot share it, consecutive quartets are so much complex, long and tiresome to record And, a hyper obscure composer like Allgen are always left for the crowd of composers, so in short, not today
ohh that's the way to attack C string. bravo. here's V's wiki link....sounds like a primer of my violin/viola studies, with Rode, De Beriot etc DG SD CA en.wikipedia.org/wiki/Henri_Vieuxtemps
thanks, we're hearing this tonight in SD CA with faculty from SDSU along with a bunch of other little heard rep. somehow missed this in my collection of viola rep. There's an altnerate version with Zimmerman. TOO MANY MISPLACED COMMERCIALS!!!!????
I loved what I heard and I hope you decide to continue. It has the makings of a really beautiful piece. btw I am a huge fan of Shostakovich. Take care and stay well.
And the performances are outstanding: bringing the music to life while remaining faithful to the score. I've never come across Ms McCallum before, but I shall now be seeking her out. Thanks for posting.
Full movement information is as follows: I. Moderato - Allegro non troppo - Poco animato - Più mosso - [...] - Animato - Tempo I - Vivo II. Lento con grande espressione - Poco largamente - Tempo I - Poco più largamente - Tempo I e sempre tranquillo III. Allegro vivo - Meno mosso, ma sempre con movimento - [...] - Più mosso - Vivo e marcato - Marcatissimo
Girls make a pretty much equal timbre, and also because their voices don't break can make a more mature sound while still having childlike wonder in their teens
Our chorale has “This Little Babe” as part of our concert next Sunday. I’m a bass and every time the ladies sing this we guys just sit back in awe. What a fabulous piece! This evening our local high school chorus is singing all of the work. Just a few hours away. Can’t wait!
My university choir performed several sections of the SATB version, but I was thrilled to hear that there was a treble version as well. Thank you for posting this score animation video. What edition is the score, though? I found the treble version score, and it listed all the parts as Treble I, Treble II, and Treble III. EDIT: I’m asking what edition the uploader used because the score in the video lists the parts as Soprano, Mezzo-soprano, and Alto instead of Treble I, Treble II, and Treble III.
Yes, in the all treble version you had the original, though the SATB version was published just a year later. Originally he was writing with children in mind.
да боже мой, послушайте! это очень хорошо сделано и я бы на вашем месте хоть сколько-нибудь позаботился бы о реальном исполнении! если вы говорите что у вас проблемы с самооценкой, то они напрасны. не знаю как это описать, но звучит достаточно свежо. у этого есть какой-то определенный дух, когда слушаешь это не просто пролетает мимо ушей. конечно Шостакович чувствуется но это только влияние конечно. продолжайте! умоляю
Kudos to Lutosławski's wife, Danuta, who was the copyist for the String Quartet and subsequent works, and who helped solve the notational challenges involved in Lutosławski's "controlled aleatoric" compositions.
I'm sorry, I had to pick up the wreckage of one of his choirs a decade later. Alleyn's School had loaned one of it's trebles to play the role of Miles in the premier run of The Turn of the Screw in the summer of 1955 at La Fenice in Venice. He'd written Let's Make an Opera for the school. What happened? The lad, who would later become a famous film actor, returned to school the next term, and it was soon revealed they'd shared a bed throughout the run. I'm being cautious in my phraseology there, both swore to they're dying day that was as far as it went, but safeguarding kicked in, the lad left, and all ties to Britten were severed. A decade later, I arrived, with connections to Sir Geraint Evans, to find a wreck. The girl's school in the foundation was fifty yards away, but the School was a descendant of Shakespeare's company so the boy trebles were in drag playing the female roles in Gilbert and Sullivan - erm. We sorted that, reaching into the community, and that started the Peckham theatre vocation which gave us John Boyega (although it cost his chum Damilola Taylor his life).
