Archive for March, 2010
Eruditos – Classical Music ♫. Good music for download. Ludwig van Beethoven – Piano Sonata No. 19 in G minor, Op. 49/1 ….. Works Lists. J. S. Bach · Pianopedia · The Classical Music Pages. News & Entertainment. Monteverdi.tv. Radios …
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Eruditos – Classical Music ♫. Good music for download. Ludwig van Beethoven – Piano Sonata No. 20 in G major, Op. 49/2 ….. Works Lists. J. S. Bach · Pianopedia · The Classical Music Pages. News & Entertainment. Monteverdi.tv. Radios …
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Take history in your hands and call personalities like Sir Isaac Newton, Wolfgang Amadeus Mozart or Ren? Descartes to your court. * A lush topographic map in full 3D allows for a rich and complete world view, and contains more than 1700 …
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Product Description
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After Bach and Handel, trumpet playing declined. Haydn, the great successor of these two masters, did not do well with trumpets. When Haydn entered the service of Prince Esterhazy, music-loving prince of Austria, his orchestra at first did not include trumpets at all.
As late as 1766, the regular personnel of this orchestra, one of the foremost in Europe, consisted of six violins and violas, one cello, one string bass, one flute, two oboes, two bassoons and four horns but no trumpets or cornets. Several years later the resources of the orchestra were enlarged so that trumpets and tympani could be added when needed.
Even when Haydn did use trumpets, he scored for them so they played an octave or a sixth above the horns. To this thin arrangement he added drums for accompaniment. He probably felt the need of filling in with something, and the drums seemed the most appropriate.
Mozart, who was at first Haydn’s pupil but whose genius lifted him to a place above his master, seemed to share Haydn’s dislike for trumpets. This antipathy for trumpets was due to an extremely sensitive nature. Until Mozart was ten years old, the sound of the trumpet was excruciatingly painful to him, and he could not endure it.
As an adult he found little pleasure in trumpets, and he used them sparingly. In 1788 he wrote his three greatest symphonies, but in only two of them did he use the trumpet. He could not endure the high clarion parts written by Bach and HandeL He even rearranged some of this music, giving the high clarion parts to the clarinets.
Beethoven generally wrote for two trumpets and often used them as solo instruments. This can hardly be interpreted to mean that Beethoven was particularly fond of the trumpet, for it was a known custom of his to score as much as possible for all players in the orchestra and to pass around the solo parts in order to keep them all interested.
In general he followed the custom of Mozart and Haydn in handling the trumpets, writing for them parts which were an octave, a sixth or sometimes a third above the horns, all to the accompaniment of the pounding of the tympani.
Although it probably was just as well that the trend was away from the high clarion writing of Bach and Handel, the composers who followed failed to invent any writing for the trumpet which was as interesting. Bach and Handel and their predecessors made the trumpet one of the most interesting instruments in the orchestra.
They no doubt went to extreme lengths and exhausted the possibilities along this line, but they have to be given credit for resourcefulness and inventiveness. When composers after Bach and Handel abandoned this style of writing, they failed to bring forth anything to take its place.
They used the trumpets much as bugles are used today in drum corps. The trumpet parts were thin chords whose poverty of design was covered up in the noise of the tympani. They apparently did not think well of the long trumpets on which it was possible to play chromatically in the upper registers.
This kind of playing was a man killer for the trumpeters, but it did have possibilities which some feel were not fully exploited. These old masters also knew about adding crooks to the simple trumpet, in order to obtain, by jumping from one trumpet to the other, something approximating chromatic playing. Wagner’s success with this type of instrument shows well enough that Mozart, Haydn and Beethoven overlooked possibilities in the trumpet of their time.
Instead of taking advantage of the long trumpet with its diatonic and chromatic upper registers, and instead of using the trumpet with crooks as did Wagner, they contented themselves with writing thin tonic and dominant chords for these instruments.
Possibly it is expecting too much, even from such geniuses as Haydn, Mozart and Beethoven, to look for trumpet writing beyond the thin chords based on the tonic and dominant. After all, although Wagner did great things on the simple trumpet without valves, he had set before him the example of piston-trumpet performance.
He chose the simple trumpet because he preferred the tone to that of the valve trumpet, but the example of the valve trumpet must have suggested the superior trumpet writing for the simple trumpet. To appreciate what Haydn, Mozart and Beethoven were up against, we need only examine what sort of music is written for the regular military bugle today.
Bugle calls are limited to five or six notes. Other notes are possible, but these five or six are the best in quality and the easiest to blow.
The obstacles in making music with these notes are obvious. They have wide gaps between them, and their range limits the music to a monotonous span. In the upper part of the scale the notes are closer together and have greater musical possibilities, but these notes are hard to play and can be blown only by a few powerful individuals.
Even with the accurately built instruments today, many players cannot hit the ninth and tenth partials; on the crude bugles two hundred years or more ago it is doubtful if many players could go beyond the sixth. It is little wonder that early composers did not think seriously about the musical possibilities of such instruments.
Malcolm Blake has spent years of his life devoted to studying music online and off. He is currently working on projects on learning to play guitar online and how to learn guitar chords flawlessly.
Delusion is a bad advisor, hardly better than ignorance or convenience. We all love to hear words of praise and encouragement, although the truth would serve us much better. If we face reality with courage, we can spare ourselves countless trouble in the present and costs in the future. A wise man does not place his trust on agreeable lies.
Wishful thinking has the capability of short-circuiting logic; beliefs that appeal to vanity should be examined with suspicion. Never accept at face value any idea pleasing to the ear, since it might contain more sugar than substance. Such is the case of the exaggerated qualities that many people attribute to enthusiasm.
Never allow self-reliance to render you blind to facts. When we start a new venture, ambition motivates us to move forward and overcome obstacles. Experienced entrepreneurs know how important it is to pursue opportunities with conviction, but they are also aware of the dangers of ignoring market signals.
Growing consumer demand is a key element of success in any commercial undertaking. If your products or services aim at willing buyers, your business should do well. In contrast, if your efforts are met with indifference, you should consider the possibility that your strategy is mistaken.
Feeling enthusiastic about your venture may help you close some sales, but cannot sustain a company in the long-term. If the demand for your products or services does not exist, your activities will be short-lived.
Markets are constructed in a such a way that practicality and utility weigh heavier than exuberance. In the end, people buy only what they like. No amount of cheerful advertisements can change the fundamental views of consumers.
Every time that a company has tried to sell what people dislike, it has resulted in financial losses. Enthusiastic projects that are not aimed at the public are dead-end propositions. Before you make commitments to an appealing cause, take a moment to examine if it is sustainable.
The life of musician Antonio Vivaldi (1678-1741) provides a forceful illustration of this principle. When Antonio was a child, his father, Giovanni Vivaldi, taught him to play the violin and took him around to perform in parties and ceremonies in Venice.
Those early contacts with the commercial market for music encouraged Antonio Vivaldi to develop his skills further. By the time he was 20 years old, he had become proficient at several string and wind instruments; from all of them, it was the violin that he played best.
Shortly after his 25th birthday, he obtained an appointment as music teacher at a municipal orphanage in Venice. The job involved teaching children to play the violin, training them to sing in the orphanage choir, and writing compositions for religious ceremonies.
Like most employees, Vivaldi soon realized that his position was not going to make him rich. Nevertheless, it provided him a stable income, a growing reputation as composer and performer, and contacts in the commercial music market that could prove profitable down the road.
Vivaldi’s career exemplifies the dark side of exuberant optimism. While other musicians aimed at prologuing their appointments, he took disproportionate risks. His wrong assessment of the market led him to mistakes that wasted the assets that he had accumulated.
When Vivaldi was in his thirties, the orphanage promoted him to musical director in recognition of his excellent performance as teacher and composer. The new position brought him a higher salary and the possibility to devote more energies to commercial music ventures.
Without neglecting his job at the orphanage, Vivaldi branched out in the field of opera, which at that time constituted the most remunerative genre for composers. Venice possessed several theatres which competed with each other for audience and novelty.
Opera was a commercial market in which each new production could lead to large profits or financial losses. Vivaldi composed several dozen operas with varying success. A few of his pieces earned him substantial profits, while others quickly fell into oblivion. In parallel, his position at the orphanage continued to generate him a regular income.
If Vivaldi had maintained his strategy, he would have become wealthy with limited risk. His double role of musical director and opera entrepreneur enabled him to get the best of both worlds. By devoting his days to sacred music and his evenings to the theatre, he benefited from two complementary incomes and enhanced his reputation.
Unfortunately, he became overenthusiastic and abandoned his well-structured life. Instead of maintaining a balance between his two occupations, he began to devote more efforts to the commercial market and seek commissions outside Venice.
During his forties and fifties, Vivaldi travelled frequently in pursuit of better appointments. He performed in Mantua, Milan, Rome, Trieste, Prague, and Vienna. His life became exciting and exhausting, leaving him little time for teaching.
Although the commissions were quite lucrative, the money seemed to hardly cover expenditures. Travelling was uncomfortable and expensive. The continuous effort of chasing appointments in distant cities must have made Vivaldi regret his orderly life in Venice. While he was in Vienna trying to secure a new commission, he died in 1741, when he was 64 years old.
Vivaldi’s excessive enthusiasm made him overrate the size and possibilities of the commercial music market. If he had been more realistic, he would have stayed in Venice and built on his assets. With less work and risk, he could have led a comfortable life.
A wise man does his best to avoid the delusion of exuberance. Appealing ventures in restricted markets frequently end in disaster. Never entrust fundamental decisions to your emotions. Growing consumer demand provides an open door to success, while projects sustained only by enthusiasm tend to have a dead-end.
JOHN VESPASIAN writes about rational living and is the author of the books “When everything fails, try this” and “Rationality is the way to happiness.” He has resided in New York, Madrid, Paris and Munich. His stories reflect the values of entrepreneurship, tolerance and self-reliance. See http://johnvespasian.blogspot.com a blog about rational living.
JOHN VESPASIAN writes about rational living and is the author of the books “When everything fails, try this” and “Rationality is the way to happiness.” He has resided in New York, Madrid, Paris and Munich. His stories reflect the values of entrepreneurship, tolerance and self-reliance. See John Vespasian’s blog about rational living.
The main tapping part of Eruption uses a chord structure and style similar to Baroque music. Similarly, Baroque-like tapping had been recorded by Steve Hackett of Genesis in 1971/1972. Initially, “Eruption” was not considered as a song …
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This is a promotional film for the Foundation for Baroque Music. The Foundation is located in Greenfield Center, New York. Go to www.baroquefestival.org for more information.
Stambolijska ratchenica Bulgarian folklore music, accordion & bassoon Folklore Seminar in Gabrovo, Bulgaria July 2007
