Music for Life: 100 Works to Carry You Through

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Published: 19 Aug 2023 Classical home listening: Sarah Willis’s Cuban farewell; vocal works by Stuart MacRae Lccn 2018379471 Ocr tesseract 5.0.0-1-g862e Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 0.8827 Ocr_module_version 0.0.14 Ocr_parameters -l eng Old_pallet IA-NS-2000516 Openlibrary_edition Three piano concertos, two symphonies, 83 songs, The Isle of the Dead(1909), The Bells(1913), All-Night Vigil(1915). Left Russia with his wife, Natalya, and two daughters in the 1917 revolution, losing all his possessions and his Ivanovka estate. In the US he began a new career as a virtuoso pianist, with celebrity status. He built a house in Switzerland and travelled the world but wrote few new compositions. In compiling the list for this book, I had one rule: the music comes first. I resist the idea of expecting music to feed or prompt an emotional state, so I tried to turn the matter on its head. Why do I want to listen to a particular work at any given moment? What is the imperative? Beethoven’s “Hammerklavier” Sonata was the name of the first piece I wrote down. Soon I had a couple of hundred absolute dead certainties and a mild sense of panic.

how playing the violin became part From torment to pleasure: how playing the violin became part

Mozart, with Bach, Beethoven, Schubert (and more – don’t write in) is at the centre of western classical music. Mozart loved riddles, wordplay, card games, billiards. The two players, on two pianos, share the opening, bold statement then joyfully interweave and alternate, as if playing chasing games with each other. After this exhilarating opening, move on to the heavenly slow movement. Then the concertos, symphonies, operas, songs… 25 January What power art thou (Cold Song) Henry Purcell Chief Music Critic of The Observer, Fiona’s Hildegard of Bingen (2001) was a great critical success when published by Headline and Doubleday (US) and has now been re-issued by Faber. She was part of the team that set up Channel 4, was first music editor at The Independent and founding editor of BBC Music Magazine. She was educated at the Royal College of Music and at Cambridge. She wrote Conversations with Harrison Birtwistle for Faber, to coincide with his 80th birthday in 2014. A separate, quiet tune’… a vintage postcard featuring ‘anonymous figures from the past, their stories songs without words’. Photograph: courtesy Tom PhillipsPublished: 23 Sep 2023 Classical home listening: Mozart and CPE Bach from the Dunedin Consort; Cuarteto Quiroga’s Atomos This Ethiopian nun (b.1923), once a singer to Haile Selassie, imprisoned when her country was under Italian rule, has acquired cult status; once on the margins of classical music but now moving into mainstream consciousness. The Song of the Sea merges gentle arpeggios with a wash of rising chords and a plaintive song waving and weaving through all. 18 January Giustino: Act 1: Vedrò con mio diletto Antonio Vivaldi

Fiona Maddocks | Faber Fiona Maddocks | Faber

February 2021). "No Simon Rattle, and no new concert hall for London ... but we will survive". The Guardian.Condition: Very Good. Main. Ships from the UK. Used book that is in excellent condition. May show signs of wear or have minor defects. With one joyous explosion after another, each dazzling and bright as a sequence of detonating fireworks, this double-choir motet launches as it means to go on: “Sing to the Lord a new song,” the psalmist demands, and “sing, sing, sing” rings out from different voices in effervescent, uplifting harmony and darting, virtuosic counterpoint. The texts are from Psalms 149 and 150, and invoke praise through dance, through timbrel, through harp. Bach wrote the motet as part of the Lutheran liturgy for New Year’s Day 1724, his first at the Thomaskirche, Leipzig. Years later, in 1789, it left an indelible impression on Mozart. He heard it in Bach’s church and was overwhelmed. According to a witness: “Hardly had the choir sung a few bars when Mozart sat up startled; a few measures more and he called out: ‘What is this?’… As it finished he cried out, full of joy, ‘Now there is something one can learn from!’” The conductor John Eliot Gardiner has described the final section, Lobet den Herrn in seinen Taten, as sounding as though, with voices alone, Bach had “dragooned all the Temple instruments of the Old Testament – the harps, psalteries and cymbals – into the service of praising the Lord, like some latter-day cuadro flamenco or big-band leader”. Bring it on.