SUNDAY MORNING CLASSICS AT TBP

A collaboration of: “The Classic Music Mafia”
Anthony Aaron and Steve C.

Steve C / Classical Music Mafia: Here is the image of “The Classic Music Gangsters”, a whimsical and imaginative group of classical musicians with a playful gangster twist. The scene is set in an old-fashioned music hall with a rich, vintage decor, where the musicians perform in stylish gangster attire from the 1920s. The atmosphere is mysterious yet sophisticated, capturing the unique blend of classical music and a light-hearted gangster theme. – aka.attrition

Every Sunday morning we present a selection for our TBP family to enjoy.

We present symphonies, ensembles, quartets, octets, etc.

Not all of our music is strictly ‘classical’. We may be straying a bit, but we strive to make all of our selections ‘classy’.

We will give tips on proper ‘symphony etiquette’ and even some selections that are a bit light and fun, aimed at a younger audience. These pieces will be pointed out as such, and can be a great way to introduce children to a world of music that they may not have been exposed to or may consider old and ‘stuffy’.

A full symphony is as long as it lasts. We don’t want to keep a symphony short. However, we do have a number of shorter pieces that we try to keep under fifteen minutes. You can listen to each piece and hopefully you will find one or more that you like.

We hope you enjoy our Sunday selections.

Steve C.

Ana Vidovic – FULL CONCERT – CLASSICAL GUITAR – Live from St.

Classical music played on a classical guitar. The music starts at 3:05

PROGRAM:

Flute Partita in A minor, BWV 1013 by Johann Sebastian Bach (transcribed by Valter Despalj)
3:06 – German
8:40 – Current

Violin Sonata No. 1, BWV 1001 by Johann Sebastian Bach (arr. by Manuel Barrueco)
12:44 – Adagio
16:38 – Flight
21:19 – Sicily
24:25 – And done

Un Dia de Noviembre by Leo Brouwer
27:36

Gran Sonata Eroica, Op. 150 by Mauro Giuliani
32:17

2 Sonatas by Domenico Scarlatti Sonata in E major, K. 380, L. 23
41:39

Sonata in D minor K.1, L. 366
46:28

Nocturno by Slavko Fumic
48:55

Encore – Asturias by Isaac Albeniz
53:49

Recorded at St. Mark’s Lutheran Church, San Francisco, CA

The following two came to us thanks to Anonymous.

(HD) The Shawshank Redemption (Mozart Opera Scene)

The Opera Redemption

The Arrival of the Queen of Sheba, by Solomon

Maybe a lost chord is all it takes to unblock a tsunami of goodness washing away the rubble of our lives. Light a candle. Hum a simple tune. Every building was once a single brick. Everything counts. And it’s always worth the fight.

The following was made possible thanks to Ursel Doran.

Eric Clapton, Luciano Pavarotti, East London Gospel Choir – Holy Mother

Eric Clapton and Pavarotti give a great performance!!

The following three come to us From difrangia

Ofra Harnoy – Let me fish at Cape St. Mary’s

Always something new to learn and experience. I only discovered this lady through Loreena McKennitt’s newsletter. It seems she played on Lorenna’s ‘Mask and Mirror’ album thirty years ago; apparently before Caroline Leavelle came into the picture as Lorenna’s primary cellist. This is just two people, Ofra Hornoy and her husband making all this noise.

It’s not necessarily like that Ofra Harnoy and Mike Herriott

Couldn’t add this to previous post with edit function, but wanted to add another Ofra Hornoy piece or two. I’m going to study this lady a bit better.

When I’m 64 Penny Lane

Anthony Aaron

Bruckner Symphony No. 8

Anton Bruckner (4 September 1824 – 11 October 1896) was an Austrian composer known for his symphonies, masses, and motets. The former are considered emblematic of the final phase of Austro-German Romanticism because of their rich harmonic language, strong polyphonic character, and considerable length. Bruckner’s compositions helped define contemporary musical radicalism, with their dissonances, extemporaneous modulations, and wandering harmonies.

Anton Bruckner’s Eighth Symphony is the last he completed. He never finished his Ninth (though he came agonizingly close to completing its finale, music still shamefully seldom heard in concert halls), so the Eighth is the summation of his symphonic journey. And what a high point the Eighth is! Bruckner himself said, as he completed the work’s gigantic, revelatory finale, “Hallelujah!… The finale is the most significant movement of my life.” Themes from all the work’s vast sections come together at the symphony’s conclusion, a moment that burns with what Robert Simpson calls a “flaming calm.” It’s the end point of a 75-minute (well, up to 100 minutes, if you’re the conductor Sergiu Celibidache…) symphonic journey, and it’s one of the most existentially stirring experiences a symphony has ever created. Bruckner’s achievement is that, once you are there, he gives you the feeling that the entire experience of the piece is contained and transfigured in this crowning meeting of symphonic space and time, and that the work’s sublime darkness – such as the terrifying abysses of dissonance in the first movement, the kind of music that conductor Wilhelm Furtwängler described as Bruckner’s “battle of demons” – and its equally transcendent light, such as the climax of the slow movement, are at once justified and overcome by the sheer, breathtaking splendor of this music, the last symphonic coda that Bruckner would ever compose.

But Bruckner’s journey to the work’s first performance, by the Vienna Philharmonic in 1892, was as arduous as the music is (at times) serene. He completed a first draft of the piece in 1887 and sent it to the conductor Hermann Levi, “my artistic father,” who had already conducted the Seventh Symphony to great acclaim in Munich. Levi rejected the piece, saying it was essentially unperformable; Bruckner was injured, but returned to the piece and spent the next few years effectively reworking it. And rather than the dimwitted naif who never got over people’s criticisms—as Bruckner is sometimes described—his revision amounts to a much deeper act of recomposition than simply responding to Levi’s concerns. The first movement ended in 1887 with a triumph in a major key; In 1892, audiences heard instead music that petered out in minor-key desolation with a repeated, exhausted, death-rattling sigh in the violas. Bruckner himself wrote of this moment of despair, the only time in his life that he composed a symphonic first movement that did not end with a fanfare of fortissimo force: “such is it when a man lies on his deathbed and there hangs opposite him a clock which, while his life is drawing to a close, keeps ticking steadily on: tick, tock, tick, tock.” The other movements, too, were subtly but thoroughly recalibrated; the effect was to intensify and sharpen the focus of Bruckner’s musical ideas.

Anton Bruckner – Symphony No. 8 in C minor

Version 1890 – Edition: Leopold Nowak

Munich Philharmonic conducted by Sergiu Celibidache

Live Suntory Hall Tokyo, October 20, 1990

1. Allegro moderate
2. Scherzo. Allegro moderato – Trio, langam
3. Adagio. Feierlich langam, but not schleppen
4. Final. Fierlich, not schnell

5 Minutes about… Beethoven – Piano Sonata No. 7 (D major)

Beethoven Piano Sonata 7 D major Op 10 no. 3

Ludwig van Beethoven

Piano Sonata No. 7 in D major, Op. 10, no. 3

Daniel Barenboim, piano

Presto – save time

Largo e mesto – 6/8 in D minor 7:44

Menuetto: Allegro – 3/4 in D major – G major – D major 18:41

Rondo: Allegro – common time 21:36

Benjamin Britten – Elegy for solo viola

Recorded on June 17, 2023

Armenian National Opera and Ballet Theatre

Benjamin Britten – Elegy for solo viola

Lili Sevoyan – Viola

Classical music as medicine: mood-enhancing melodies synchronize the brain

The saying goes, “Music has the power to calm the wild breast.” I’m not sure if that’s true, but this article claims that “…classical music can be a powerful tool in the treatment of depression, especially for those who have not responded well to other therapies.”

https://studyfinds.org/classical-music-mood-boosting/

Steve C.

The evolution of classical music (1680-1928)

0:00 1680: Canon in D
0:51 1706: Sarabande
1:18 1713: La stravaganza no. 2, I. Allegro
1:56 1714: Adagio
2:49 1720: The Four Seasons, IV. Winter
3:40 1722: Prelude in C major
4:30 1741: Hallelujah
4:59 1773: Symphony No. 25, I. Allegro con brio
5:19 1781: Sonata for 2 pianos in D major, I. Allegro con spirito
6:17 1783: Rondo to Turkey
6:48 1786: Overture The Marriage of Figaro
7:33 1787: Eine kleine Nachtmusik, I. Allegro
8:17 1791: Lacrimosa
9:13 1798: Sonata Pathétique, II. Adagio cantabile
9:48 1801: Moonlight Sonata, I. Adagio sostenuto
10:31 1802: The Storm Sonata, III. Allegretto
10:59 1804: Kreutzer Sonata, I. Adagio sostenuto – Presto
11:32 1806: Violin Concerto in D major, Op.61, I. Allegro ma non troppo
12:11 1808: Symphony No. 5, I. Allegro con brio
12:36 1810: For Elise
13:20 1812: Symphony No. 7, II. Allegretto
14:00 1816: Past the factory
14:38 1824: Ode to Joy
15:13 1825: Marialaan
15:48 1828: Swan Song, IV. Standard
16:51 1829: William Tell Overture
17:47 1830: Nocturne in C-sharp minor
18:43 1831: Nocturne, op. 9, no. 2
19:15 1832: Sad Study
19:58 1834: Fantaisie-Impromptu
20:42 1836: Winter Wind Study
21:26 1837: Funeral March
22:11 1838: Raindrop Prelude
23:04 1842: Heroic Polonaise
24:01 1847: Hungarian Rhapsody No. 2
24:37 1850: Love Dream No. 3
25:15 1851: La donna è mobile
26:16 1853: Brindisi
26:36 1856: Ride of the Valkyries
27:10 1858: Can Can
28:04 1866: The Blue Danube
28:52 1868: Lullaby
29:46 1869: Fire Festival!
30:37 1873: Habanera
31:08 1874: In the macabre
31:46 1875: In the Hall of the Mountain King
32:27 1877: Swan Lake Theme
33:19 1880: 1812 Overture
33:51 1886: The Swan
34:53 1888: Gymnastics #1
35:46 1889: The Sleeping Beauty Waltz
36:15 1891: Arabesque No. 1
37:00 1892: Waltz of the Flowers
37:55 1893: New World Symphony, IV. Allegro with fuoco
39:05 1900: Serenata
39:35 1901: Piano Concerto No. 2, I. Moderato
40:19 1905: Claude Debussy – Clair de lune
40:52 1906: Italian Polka
41:14 1908: Isle of the Dead
41:46 1912: Vocalize
42:17 1917: Little Red Riding Hood
42:59 1918: O Mio Babbino Caro
44:07 1924: Rhapsody in Blue
44:51 1926: Nessun Dorma
45:40 1928: Bolero

Evolution of Music (2100 BC-2023 AD)

Timestamps:

Old music (00:00)
Medieval Music (02:56)
Renaissance Music (05:29)
Baroque Music (07:24)
Classical music (09:10)
Romantic music (10:37)
Modernism/Popular Music (12:56)

The Classic Music Mafia – Adding some class to this tent every Sunday.

May heaven help us…