L’histoire du Soldat (clarinet, violin and piano), Firebird, sacre du Printemps. Last two are his most well know but L’ histoire is a favourite of mine.
That's weird, my score indicates the quarter note at 120 bpm for the first movement. Hillary Hahn plays at that speed with Neville Mariner and St Martin in the Fields. At such a slow pace it's really bizarre
That's a really interesting point. Here the score's clearly marked crotchet = 96. Is a metronome mark missing for the third bar? I checked Hilary Hahn's performance, and it is indeed at 120, and a number of commenters find it too fast!
@@ContemporaryClassical i've checked the score once again (Eulenburg EE 6779, pocket orchestral score), there's two métronome markings placed in a bizarre way : in the usual place above the staves at the beginning, there's " Tempo quarter note=120 (M.M)" Lower, in between lines, just above the solo violin staff, there's "Tempo quarter note=96" The two indications are vertically aligned
@@theclarinetjooddsandends3753 It's obviously a printing error. Stravinsky normally went through the proofs of his scores carefully, noting all the mistakes. Anyway, I suppose you can choose. I'm happy to have both tempi available, tbh
The new music Tonal Scale is as thus: 12 7 5 2 3 : 1 4 5 9 14 Not 12 with 7 & 5 BUT 14 with 9 & 5 [2^(1/14)] These are the Tonal Scales growing from f (by cycles of fifths): All Scales build from the first mode: equivalent to Lydian f White keys are = & Black keys are | 12 with 7 & 5 [2^(1/12)] =|=|=|==|=|= {1,8,3,10,5,12,7,2,9,4,11,6} 1thru7are= 8thru12are| 7 with 5 & 2 [2^(1/7)] ===|==| {1,3,5,7,2,4,6} 1thru5are= 6&7are| 5 with 2 & 3 [2^(1/5)] =||=| {1,3,5,2,4} 1&2are= 3thru5are| Now evolving up the other end 5 with 4 & 1 [2^(1/5)] ==|== {1,3,5,2,4} 1thru4are= 5is| 9 with 5 & 4 [2^(1/9)] =|=|=|==| {1,8,3,7,5,9,2,4,6} 1thru5are= 6thru9are| 14 with 9 & 5 [2^(1/14)] =|=|===|=|===| {1,12,3,14,5,7,9,11,2,13,4,6,8,10} 1thru9are= 10thru14are| Joseph Yasser is the actual originator of the realization, that scales develop by cycles of fifths. www.seraph.it/blog_files/623ba37cafa0d91db51fa87296693fff-175.html www.academia.edu/4163545/A_Theory_of_Evolving_Tonality_by_Joseph_Yasser www.musanim.com/Yasser/ The chromatic scale we use today is divided by 2^(1/12) twelfth root of two Instead of moving to the next higher: the 19 tone scale 2^(1/19) nineteenth root of two I decided to go all the way down and back up the other end: So 12 - 7 = 5 & 7 - 5 = 2 & 5 - 2 = 3 Now we enter to the other side: 2 - 3 = -1 & 3 - -1 = 4 & -1 - 4 = -5 & 4 - -5 = 9 & -5 - 9 = -14 ignoring the negatives we have 1 4 5 9 14 Just follow the cycles how each scale is weaved together, as shown above. Each scale has its own division within the frequency doubling, therefore the 14 tones scale is 2^(1/14) fourteenth root of two
As a commemoration of the end of WWII and a gift, Hemingway dropped of a box of unexploded grenades at Picasso's door in Paris. Picasso probably told Stravinsky about the strange gift, and Stravinsky alluded to it by the bullfight in the last movement of his Violin Concerto in D (or such is the way I arbitrarily reconstruct diffusion paths without any evidence whatsoever. No doubt, I'll be thrashed for my assault on veracity along with Trump and the alt-right).
![Igor Stravinsky: Danses concertantes [w/score]](http://i.ytimg.com/vi/llsIY44riGI/mqdefault.jpg)
Stravinsky at his wittiest and most charming.
One of the very great violin concerti.....Perlman, Ozawa.....BRAVI TUTTI!
ahhh..
what a fresh breath of metal!
thx, Stravinsky!
keep up the great work!
🤘
It’s incredible. And George Anthiel took this, ran & went savage with it!
Awesome- new to me. The Arias are the first time I recall hearing these more continuous slower textures in Stravinsky's work.
Along with the Symphony of Psalms among the best of Stravinsky's works.
L’histoire du Soldat (clarinet, violin and piano), Firebird, sacre du Printemps. Last two are his most well know but L’ histoire is a favourite of mine.
agon, orpheus, symphonies of wind instruments
l'histoire is originally for clarinet, bassoon, trumpet, trombone, percussion, violin, bass
@@brajoh79 mine are the Requiem Canticles, the movements for piano & orchestra and the septet.
The dream of every accompanist...
Thanks for posting. A lovely concerto.
Grandioso!!! 👏👏👏👏😊
🎂Igor Stravinsky 06-17-2022
That's weird, my score indicates the quarter note at 120 bpm for the first movement. Hillary Hahn plays at that speed with Neville Mariner and St Martin in the Fields.
At such a slow pace it's really bizarre
That's a really interesting point. Here the score's clearly marked crotchet = 96. Is a metronome mark missing for the third bar? I checked Hilary Hahn's performance, and it is indeed at 120, and a number of commenters find it too fast!
@@ContemporaryClassical i've checked the score once again (Eulenburg EE 6779, pocket orchestral score), there's two métronome markings placed in a bizarre way :
in the usual place above the staves at the beginning, there's " Tempo quarter note=120 (M.M)"
Lower, in between lines, just above the solo violin staff, there's "Tempo quarter note=96"
The two indications are vertically aligned
@@theclarinetjooddsandends3753 It's obviously a printing error. Stravinsky normally went through the proofs of his scores carefully, noting all the mistakes. Anyway, I suppose you can choose. I'm happy to have both tempi available, tbh
Also a dance production by Balanchine, part of the New York City Ballet repertoire.
It’s insane.
insanely good
0:26 Spongebob
Vaninaaa ha ha vaninaa ha ha ha ha
The new music Tonal Scale is as thus: 12 7 5 2 3 : 1 4 5 9 14
Not 12 with 7 & 5 BUT 14 with 9 & 5 [2^(1/14)]
These are the Tonal Scales growing from f (by cycles of fifths):
All Scales build from the first mode: equivalent to Lydian f
White keys are = & Black keys are |
12 with 7 & 5 [2^(1/12)] =|=|=|==|=|= {1,8,3,10,5,12,7,2,9,4,11,6} 1thru7are= 8thru12are|
7 with 5 & 2 [2^(1/7)] ===|==| {1,3,5,7,2,4,6} 1thru5are= 6&7are|
5 with 2 & 3 [2^(1/5)] =||=| {1,3,5,2,4} 1&2are= 3thru5are|
Now evolving up the other end
5 with 4 & 1 [2^(1/5)] ==|== {1,3,5,2,4} 1thru4are= 5is|
9 with 5 & 4 [2^(1/9)] =|=|=|==| {1,8,3,7,5,9,2,4,6} 1thru5are= 6thru9are|
14 with 9 & 5 [2^(1/14)] =|=|===|=|===| {1,12,3,14,5,7,9,11,2,13,4,6,8,10} 1thru9are= 10thru14are|
Joseph Yasser is the actual originator of the realization,
that scales develop by cycles of fifths.
www.seraph.it/blog_files/623ba37cafa0d91db51fa87296693fff-175.html
www.academia.edu/4163545/A_Theory_of_Evolving_Tonality_by_Joseph_Yasser
www.musanim.com/Yasser/
The chromatic scale we use today is divided by 2^(1/12) twelfth root of two
Instead of moving to the next higher: the 19 tone scale 2^(1/19) nineteenth root of two
I decided to go all the way down and back up the other end:
So 12 - 7 = 5 & 7 - 5 = 2 & 5 - 2 = 3
Now we enter to the other side:
2 - 3 = -1 & 3 - -1 = 4 & -1 - 4 = -5 & 4 - -5 = 9 & -5 - 9 = -14
ignoring the negatives we have 1 4 5 9 14
Just follow the cycles how each scale is weaved together, as shown above.
Each scale has its own division within the frequency doubling,
therefore the 14 tones scale is 2^(1/14) fourteenth root of two
you lost me at 'the'
ok
As a commemoration of the end of WWII and a gift, Hemingway dropped of a box of unexploded grenades at Picasso's door in Paris. Picasso probably told Stravinsky about the strange gift, and Stravinsky alluded to it by the bullfight in the last movement of his Violin Concerto in D (or such is the way I arbitrarily reconstruct diffusion paths without any evidence whatsoever. No doubt, I'll be thrashed for my assault on veracity along with Trump and the alt-right).
least insane classical music listener
Pretty strange to me .....not my cup of tea
You don't find it fun?