#berlin-philharmonic — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #berlin-philharmonic, aggregated by home.social.
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He Left the Berlin Philharmonic to Find His Voice. He Found a World Stage.
After 14 years playing viola in the Berlin Philharmonic, Brett Dean craved uncertainty. He had been creating his…
#Germany #DE #Europe #EU #Europa #Berlin #BavarianStateOpera #BerlinPhilharmonic #Brett #ClassicalMusic #Dean #Opera
https://www.europesays.com/germany/10624/ -
https://www.europesays.com/dk/75626/ He Left the Berlin Philharmonic to Find His Voice. He Found a World Stage. #BavarianStateOpera #berlin #BerlinPhilharmonic #Brett #ClassicalMusic #Dean #Germany #Opera
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Musical Interlude: And now, something to play out your week with...let yourself be swept away...
"Violin Concerto No. 1," composed by Dimitri Shostakovich, performed by Hilary Hahn with the Berlin Philharmonic, conducted by Mariss Jansons.
https://www.youtube.com/watch?v=SXDk1CoIRuY
#MusicalInterlude #ClassicalMusic #Shostakovich #HilaryHahn #BerlinPhilharmonic
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Musical Interlude: And now, something to play out your week with...let yourself be swept away...
"Violin Concerto No. 1," composed by Dimitri Shostakovich, performed by Hilary Hahn with the Berlin Philharmonic, conducted by Mariss Jansons.
https://www.youtube.com/watch?v=SXDk1CoIRuY
#MusicalInterlude #ClassicalMusic #Shostakovich #HilaryHahn #BerlinPhilharmonic
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Musical Interlude: And now, something to play out your week with...let yourself be swept away...
"Violin Concerto No. 1," composed by Dimitri Shostakovich, performed by Hilary Hahn with the Berlin Philharmonic, conducted by Mariss Jansons.
https://www.youtube.com/watch?v=SXDk1CoIRuY
#MusicalInterlude #ClassicalMusic #Shostakovich #HilaryHahn #BerlinPhilharmonic
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Musical Interlude: And now, something to play out your week with...let yourself be swept away...
"Violin Concerto No. 1," composed by Dimitri Shostakovich, performed by Hilary Hahn with the Berlin Philharmonic, conducted by Mariss Jansons.
https://www.youtube.com/watch?v=SXDk1CoIRuY
#MusicalInterlude #ClassicalMusic #Shostakovich #HilaryHahn #BerlinPhilharmonic
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Musical Interlude: And now, something to play out your week with...let yourself be swept away...
"Violin Concerto No. 1," composed by Dimitri Shostakovich, performed by Hilary Hahn with the Berlin Philharmonic, conducted by Mariss Jansons.
https://www.youtube.com/watch?v=SXDk1CoIRuY
#MusicalInterlude #ClassicalMusic #Shostakovich #HilaryHahn #BerlinPhilharmonic
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🇺🇦 #NowPlaying on BBC #Radio3's #ClassicalMixtape Berlin Philharmonic, Пётр Ильич Чайковский & Simon Rattle: 🎵 Dance of the Sugar-Plum Fairy (The Nutcracker) #BBCRadio3 #BerlinPhilharmonic #ПётрИльичЧайковский #SimonRattle
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🇺🇦 #NowPlaying on BBC #Radio3's #ClassicalMixtape Berlin Philharmonic, Пётр Ильич Чайковский & Simon Rattle: 🎵 Dance of the Sugar-Plum Fairy (The Nutcracker) #BBCRadio3 #BerlinPhilharmonic #ПётрИльичЧайковский #SimonRattle
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🇺🇦 #NowPlaying on BBC #Radio3's #ClassicalMixtape Berlin Philharmonic, Пётр Ильич Чайковский & Simon Rattle: 🎵 Dance of the Sugar-Plum Fairy (The Nutcracker) #BBCRadio3 #BerlinPhilharmonic #ПётрИльичЧайковский #SimonRattle
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🇺🇦 #NowPlaying on BBC #Radio3's #InTune Berlin Philharmonic, Пётр Ильич Чайковский & Simon Rattle: 🎵 Dance of the Sugar-Plum Fairy (The Nutcracker) #BBCRadio3 #BerlinPhilharmonic #ПётрИльичЧайковский #SimonRattle
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🇺🇦 #NowPlaying on BBC #Radio3's #InTune Berlin Philharmonic, Пётр Ильич Чайковский & Simon Rattle: 🎵 Dance of the Sugar-Plum Fairy (The Nutcracker) #BBCRadio3 #BerlinPhilharmonic #ПётрИльичЧайковский #SimonRattle
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The Moldau by Smetana played by The Berlin Philharmonic and conducted by Herbert von Karajan is good. You should listen to it.
Apple Music: https://music.apple.com/gb/album/the-moldau-from-m%C3%A1-vlast-allegro-the-first-source/1452205443?i=1452205449
YouTube: https://youtube.com/watch?v=NECXKAPwCjw
I was going to make this my Hey Dingus song tonight. But I failed miserably trying to get Siri to play the version I wanted.
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The Moldau by Smetana played by The Berlin Philharmonic and conducted by Herbert von Karajan is good. You should listen to it.
Apple Music: https://music.apple.com/gb/album/the-moldau-from-m%C3%A1-vlast-allegro-the-first-source/1452205443?i=1452205449
YouTube: https://youtube.com/watch?v=NECXKAPwCjw
I was going to make this my Hey Dingus song tonight. But I failed miserably trying to get Siri to play the version I wanted.
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The Moldau by Smetana played by The Berlin Philharmonic and conducted by Herbert von Karajan is good. You should listen to it.
Apple Music: https://music.apple.com/gb/album/the-moldau-from-m%C3%A1-vlast-allegro-the-first-source/1452205443?i=1452205449
YouTube: https://youtube.com/watch?v=NECXKAPwCjw
I was going to make this my Hey Dingus song tonight. But I failed miserably trying to get Siri to play the version I wanted.
-
The Moldau by Smetana played by The Berlin Philharmonic and conducted by Herbert von Karajan is good. You should listen to it.
Apple Music: https://music.apple.com/gb/album/the-moldau-from-m%C3%A1-vlast-allegro-the-first-source/1452205443?i=1452205449
YouTube: https://youtube.com/watch?v=NECXKAPwCjw
I was going to make this my Hey Dingus song tonight. But I failed miserably trying to get Siri to play the version I wanted.
-
The Moldau by Smetana played by The Berlin Philharmonic and conducted by Herbert von Karajan is good. You should listen to it.
Apple Music: https://music.apple.com/gb/album/the-moldau-from-m%C3%A1-vlast-allegro-the-first-source/1452205443?i=1452205449
YouTube: https://youtube.com/watch?v=NECXKAPwCjw
I was going to make this my Hey Dingus song tonight. But I failed miserably trying to get Siri to play the version I wanted.
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That Karajan recording of The Planets is, and always will be, my favourite version of the suite. 🥰
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That Karajan recording of The Planets is, and always will be, my favourite version of the suite. 🥰
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That Karajan recording of The Planets is, and always will be, my favourite version of the suite. 🥰
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That Karajan recording of The Planets is, and always will be, my favourite version of the suite. 🥰
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That Karajan recording of The Planets is, and always will be, my favourite version of the suite. 🥰
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Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart / Debussy / Takemitsu (1999, Germany)
Our next spotlight is on number 741 on The List, submitted by t4s. This album consists of five pieces spanning 200 years, performed by German classical solo clarinettist Sabine Meyer and the Berlin Philharmonic Orchestra and conducted by Claudio Abbado: Mozart’s Clarinet Concerto (Klarinettenkonzert) in A major (K. 622); Debussy’s First Rhapsody (Première Rhapsodie; L. 116a); and, from mid-late 20th-century Japanese avant-garde composer Tōru Takemitsu (武満 徹), his Fantasma/Cantos (ファンタズマ/カントス).
Want to read more? See the full spotlight: https://1001otheralbums.com/2025/04/11/sabine-meyer-berliner-philharmoniker-claudio-abbado-mozart-debussy-takemitsu-1999-germany/
Want to skip straight to the music? Here's a Songlink: https://album.link/i/696179370
Happy listening!
#SabineMeyer #BerlinPhilharmonic #ClaudioAbbado #Mozart #Debussy #TōruTakemitsu #clarinet #ClassicalMusic #music #1001OtherAlbums
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Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart / Debussy / Takemitsu (1999, Germany)
Our next spotlight is on number 741 on The List, submitted by t4s. This album consists of five pieces spanning 200 years, performed by German classical solo clarinettist Sabine Meyer and the Berlin Philharmonic Orchestra and conducted by Claudio Abbado: Mozart’s Clarinet Concerto (Klarinettenkonzert) in A major (K. 622); Debussy’s First Rhapsody (Première Rhapsodie; L. 116a); and, from mid-late 20th-century Japanese avant-garde composer Tōru Takemitsu (武満 徹), his Fantasma/Cantos (ファンタズマ/カントス).
Want to read more? See the full spotlight: https://1001otheralbums.com/2025/04/11/sabine-meyer-berliner-philharmoniker-claudio-abbado-mozart-debussy-takemitsu-1999-germany/
Want to skip straight to the music? Here's a Songlink: https://album.link/i/696179370
Happy listening!
#SabineMeyer #BerlinPhilharmonic #ClaudioAbbado #Mozart #Debussy #TōruTakemitsu #clarinet #ClassicalMusic #music #1001OtherAlbums
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Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart / Debussy / Takemitsu (1999, Germany)
Our next spotlight is on number 741 on The List, submitted by t4s. This album consists of five pieces spanning 200 years, performed by German classical solo clarinettist Sabine Meyer and the Berlin Philharmonic Orchestra and conducted by Claudio Abbado: Mozart’s Clarinet Concerto (Klarinettenkonzert) in A major (K. 622); Debussy’s First Rhapsody (Première Rhapsodie; L. 116a); and, from mid-late 20th-century Japanese avant-garde composer Tōru Takemitsu (武満 徹), his Fantasma/Cantos (ファンタズマ/カントス).
Want to read more? See the full spotlight: https://1001otheralbums.com/2025/04/11/sabine-meyer-berliner-philharmoniker-claudio-abbado-mozart-debussy-takemitsu-1999-germany/
Want to skip straight to the music? Here's a Songlink: https://album.link/i/696179370
Happy listening!
#SabineMeyer #BerlinPhilharmonic #ClaudioAbbado #Mozart #Debussy #TōruTakemitsu #clarinet #ClassicalMusic #music #1001OtherAlbums
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Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart / Debussy / Takemitsu (1999, Germany)
Our next spotlight is on number 741 on The List, submitted by t4s. This album consists of five pieces spanning 200 years, performed by German classical solo clarinettist Sabine Meyer and the Berlin Philharmonic Orchestra and conducted by Claudio Abbado: Mozart’s Clarinet Concerto (Klarinettenkonzert) in A major (K. 622); Debussy’s First Rhapsody (Première Rhapsodie; L. 116a); and, from mid-late 20th-century Japanese avant-garde composer Tōru Takemitsu (武満 徹), his Fantasma/Cantos (ファンタズマ/カントス).
Want to read more? See the full spotlight: https://1001otheralbums.com/2025/04/11/sabine-meyer-berliner-philharmoniker-claudio-abbado-mozart-debussy-takemitsu-1999-germany/
Want to skip straight to the music? Here's a Songlink: https://album.link/i/696179370
Happy listening!
#SabineMeyer #BerlinPhilharmonic #ClaudioAbbado #Mozart #Debussy #TōruTakemitsu #clarinet #ClassicalMusic #music #1001OtherAlbums
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Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart / Debussy / Takemitsu (1999, Germany)
Our next spotlight is on number 741 on The List, submitted by t4s.
This album consists of five pieces spanning 200 years, performed by German classical solo clarinettist Sabine Meyer and the Berlin Philharmonic Orchestra and conducted by Claudio Abbado: 18th century Salzburgian composer Wolfgang Amadeus Mozart’s Clarinet Concerto (Klarinettenkonzert) in A major (K. 622); late 19th/early 20th century French composer Claude Debussy’s First Rhapsody (Première Rhapsodie; L. 116a); and, from mid-late 20th-century Japanese avant-garde composer Tōru Takemitsu (武満 徹), his Fantasma/Cantos (ファンタズマ/カントス). Because I unfortunately am a philistine when it comes to classical music, below I quote directly from the liner notes of this album, written by by English musicologist Richard Langham Smith.
I’m quite grateful for the inclusion of Takemitsu on this album – he seems to have been a rather fascinating character, and I’ve been digging into his works since getting this spotlight ready. If you’re not already familiar, I’d recommend doing the same!
On Mozart’s Clarinet Concerto (tracks 1 to 3):
The Clarinet Concerto was Mozart’s last orchestral work, completed in October of 1791, just two months before is death. It was written for his friend Anton Stadler, whose specialty was the basset-horn, a type of clarinet with an extended range a major third lower than the standard instrument…
The work is rightly considered a masterpiece: it has that hymnic maturity of the the composer’s late works…The composer delights in the exploration of sonorities, not only contrasting the different registers of the clarinet, with notable passages for the low ‘chalumeau’ register, but also using a reduced orchestra which omits the oboes, the more to highlight the reedy voice of the soloist.
…the first and second movements have darker passages which wander into unpredictable keys and exploit the slightly sinister qualities of the clarinet’s lowest register…The Rondo form of the final movement, with its jolly rhythmic theme, conceals hidden depths: against the episodes sometimes stray into deeper waters.
On Debussy’s First Rhapsody (track 4):
Debussy’s Clarinet Rhapsody was first written as…a competition piece for conservatoire students, with piano accompaniment…it was started in December 1909 and completed the following month.
Those who know Debussy’s piece in the version with piano will have an extra dimension of enjoyment added as they hear Debussy’s thoroughly pianistic sonorities transformed, rather than transcribed. Its piano accompaniment, often reliant on a cloud of resonance created by the sustaining pedal, here takes on quite a different character.
Maybe the piece ranks more among those pieces whose impetus was external rather than stemming from a burning artistic idea, but if it is a pot-boiler then it is none the worse for it…Why it was entitled the ‘first’ rhapsody is a matter of surmise: there is no sequel.
On Takemitsu’s Fantasma/Cantos (track 5):
[Toru Takemitsu] has come to be recognised as a major figure: perhaps best described as a voice of the East who expresses himself with the language and instruments of the West…he was largely self-taught, and if he may be allied to a French rather than a Germanic tradition it is perhaps because of his highlighting of timbre – and even silence – as a major component of his musical expression.
First performed in 1991, Fantasma/Cantos was commissioned by the British Broadcasting Corporation…The orchestra is large and includes a large percussion section including tuned percussion and Thai or Indonesian gongs. Takemitsu himself has explained the relevance of the title: “…’Fantasma’ (fantasy) and ‘Cantos’ (song) – are synonymous. After a brief introduction, a clear melody line, as a result of colourful orchestral figuration, ambiguously undergoes metamorphosis. The structure of the work is influenced by Japanese landscape gardens in the ‘go-round’ style. You walk along the path, stopping here and there to contemplate, and eventually find yourself back where you started from. Yet it is no longer the same starting point.”
- Songlink: Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart’s Klarinettenkonzert / Debussy’s Première Rapsodie / Takemitsu’s Fantasma/Cantos
- Discogs: Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart’s Klarinettenkonzert / Debussy’s Première Rapsodie / Takemitsu’s Fantasma/Cantos
#BerlinPhilharmonic #clarinet #classicalMusic #ClaudioAbbado #Debussy #Mozart #music #musicDiscovery #SabineMeyer #ToruTakemitsu
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Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart / Debussy / Takemitsu (1999, Germany)
Our next spotlight is on number 741 on The List, submitted by t4s.
This album consists of five pieces spanning 200 years, performed by German classical solo clarinettist Sabine Meyer and the Berlin Philharmonic Orchestra and conducted by Claudio Abbado: 18th century Salzburgian composer Wolfgang Amadeus Mozart’s Clarinet Concerto (Klarinettenkonzert) in A major (K. 622); late 19th/early 20th century French composer Claude Debussy’s First Rhapsody (Première Rhapsodie; L. 116a); and, from mid-late 20th-century Japanese avant-garde composer Tōru Takemitsu (武満 徹), his Fantasma/Cantos (ファンタズマ/カントス). Because I unfortunately am a philistine when it comes to classical music, below I quote directly from the liner notes of this album, written by by English musicologist Richard Langham Smith.
I’m quite grateful for the inclusion of Takemitsu on this album – he seems to have been a rather fascinating character, and I’ve been digging into his works since getting this spotlight ready. If you’re not already familiar, I’d recommend doing the same!
On Mozart’s Clarinet Concerto (tracks 1 to 3):
The Clarinet Concerto was Mozart’s last orchestral work, completed in October of 1791, just two months before is death. It was written for his friend Anton Stadler, whose specialty was the basset-horn, a type of clarinet with an extended range a major third lower than the standard instrument…
The work is rightly considered a masterpiece: it has that hymnic maturity of the the composer’s late works…The composer delights in the exploration of sonorities, not only contrasting the different registers of the clarinet, with notable passages for the low ‘chalumeau’ register, but also using a reduced orchestra which omits the oboes, the more to highlight the reedy voice of the soloist.
…the first and second movements have darker passages which wander into unpredictable keys and exploit the slightly sinister qualities of the clarinet’s lowest register…The Rondo form of the final movement, with its jolly rhythmic theme, conceals hidden depths: against the episodes sometimes stray into deeper waters.
On Debussy’s First Rhapsody (track 4):
Debussy’s Clarinet Rhapsody was first written as…a competition piece for conservatoire students, with piano accompaniment…it was started in December 1909 and completed the following month.
Those who know Debussy’s piece in the version with piano will have an extra dimension of enjoyment added as they hear Debussy’s thoroughly pianistic sonorities transformed, rather than transcribed. Its piano accompaniment, often reliant on a cloud of resonance created by the sustaining pedal, here takes on quite a different character.
Maybe the piece ranks more among those pieces whose impetus was external rather than stemming from a burning artistic idea, but if it is a pot-boiler then it is none the worse for it…Why it was entitled the ‘first’ rhapsody is a matter of surmise: there is no sequel.
On Takemitsu’s Fantasma/Cantos (track 5):
[Toru Takemitsu] has come to be recognised as a major figure: perhaps best described as a voice of the East who expresses himself with the language and instruments of the West…he was largely self-taught, and if he may be allied to a French rather than a Germanic tradition it is perhaps because of his highlighting of timbre – and even silence – as a major component of his musical expression.
First performed in 1991, Fantasma/Cantos was commissioned by the British Broadcasting Corporation…The orchestra is large and includes a large percussion section including tuned percussion and Thai or Indonesian gongs. Takemitsu himself has explained the relevance of the title: “…’Fantasma’ (fantasy) and ‘Cantos’ (song) – are synonymous. After a brief introduction, a clear melody line, as a result of colourful orchestral figuration, ambiguously undergoes metamorphosis. The structure of the work is influenced by Japanese landscape gardens in the ‘go-round’ style. You walk along the path, stopping here and there to contemplate, and eventually find yourself back where you started from. Yet it is no longer the same starting point.”
- Songlink: Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart’s Klarinettenkonzert / Debussy’s Première Rapsodie / Takemitsu’s Fantasma/Cantos
- Discogs: Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart’s Klarinettenkonzert / Debussy’s Première Rapsodie / Takemitsu’s Fantasma/Cantos
#BerlinPhilharmonic #clarinet #classicalMusic #ClaudioAbbado #Debussy #Mozart #music #musicDiscovery #SabineMeyer #ToruTakemitsu
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Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart / Debussy / Takemitsu (1999, Germany)
Our next spotlight is on number 741 on The List, submitted by t4s.
This album consists of five pieces spanning 200 years, performed by German classical solo clarinettist Sabine Meyer and the Berlin Philharmonic Orchestra and conducted by Claudio Abbado: 18th century Salzburgian composer Wolfgang Amadeus Mozart’s Clarinet Concerto (Klarinettenkonzert) in A major (K. 622); late 19th/early 20th century French composer Claude Debussy’s First Rhapsody (Première Rhapsodie; L. 116a); and, from mid-late 20th-century Japanese avant-garde composer Tōru Takemitsu (武満 徹), his Fantasma/Cantos (ファンタズマ/カントス). Because I unfortunately am a philistine when it comes to classical music, below I quote directly from the liner notes of this album, written by by English musicologist Richard Langham Smith.
I’m quite grateful for the inclusion of Takemitsu on this album – he seems to have been a rather fascinating character, and I’ve been digging into his works since getting this spotlight ready. If you’re not already familiar, I’d recommend doing the same!
On Mozart’s Clarinet Concerto (tracks 1 to 3):
The Clarinet Concerto was Mozart’s last orchestral work, completed in October of 1791, just two months before is death. It was written for his friend Anton Stadler, whose specialty was the basset-horn, a type of clarinet with an extended range a major third lower than the standard instrument…
The work is rightly considered a masterpiece: it has that hymnic maturity of the the composer’s late works…The composer delights in the exploration of sonorities, not only contrasting the different registers of the clarinet, with notable passages for the low ‘chalumeau’ register, but also using a reduced orchestra which omits the oboes, the more to highlight the reedy voice of the soloist.
…the first and second movements have darker passages which wander into unpredictable keys and exploit the slightly sinister qualities of the clarinet’s lowest register…The Rondo form of the final movement, with its jolly rhythmic theme, conceals hidden depths: against the episodes sometimes stray into deeper waters.
On Debussy’s First Rhapsody (track 4):
Debussy’s Clarinet Rhapsody was first written as…a competition piece for conservatoire students, with piano accompaniment…it was started in December 1909 and completed the following month.
Those who know Debussy’s piece in the version with piano will have an extra dimension of enjoyment added as they hear Debussy’s thoroughly pianistic sonorities transformed, rather than transcribed. Its piano accompaniment, often reliant on a cloud of resonance created by the sustaining pedal, here takes on quite a different character.
Maybe the piece ranks more among those pieces whose impetus was external rather than stemming from a burning artistic idea, but if it is a pot-boiler then it is none the worse for it…Why it was entitled the ‘first’ rhapsody is a matter of surmise: there is no sequel.
On Takemitsu’s Fantasma/Cantos (track 5):
[Toru Takemitsu] has come to be recognised as a major figure: perhaps best described as a voice of the East who expresses himself with the language and instruments of the West…he was largely self-taught, and if he may be allied to a French rather than a Germanic tradition it is perhaps because of his highlighting of timbre – and even silence – as a major component of his musical expression.
First performed in 1991, Fantasma/Cantos was commissioned by the British Broadcasting Corporation…The orchestra is large and includes a large percussion section including tuned percussion and Thai or Indonesian gongs. Takemitsu himself has explained the relevance of the title: “…’Fantasma’ (fantasy) and ‘Cantos’ (song) – are synonymous. After a brief introduction, a clear melody line, as a result of colourful orchestral figuration, ambiguously undergoes metamorphosis. The structure of the work is influenced by Japanese landscape gardens in the ‘go-round’ style. You walk along the path, stopping here and there to contemplate, and eventually find yourself back where you started from. Yet it is no longer the same starting point.”
- Songlink: Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart’s Klarinettenkonzert / Debussy’s Première Rapsodie / Takemitsu’s Fantasma/Cantos
- Discogs: Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart’s Klarinettenkonzert / Debussy’s Première Rapsodie / Takemitsu’s Fantasma/Cantos
#BerlinPhilharmonic #clarinet #classicalMusic #ClaudioAbbado #Debussy #Mozart #music #musicDiscovery #SabineMeyer #ToruTakemitsu
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Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart / Debussy / Takemitsu (1999, Germany)
Our next spotlight is on number 741 on The List, submitted by t4s.
This album consists of five pieces spanning 200 years, performed by German classical solo clarinettist Sabine Meyer and the Berlin Philharmonic Orchestra and conducted by Claudio Abbado: 18th century Salzburgian composer Wolfgang Amadeus Mozart’s Clarinet Concerto (Klarinettenkonzert) in A major (K. 622); late 19th/early 20th century French composer Claude Debussy’s First Rhapsody (Première Rhapsodie; L. 116a); and, from mid-late 20th-century Japanese avant-garde composer Tōru Takemitsu (武満 徹), his Fantasma/Cantos (ファンタズマ/カントス). Because I unfortunately am a philistine when it comes to classical music, below I quote directly from the liner notes of this album, written by by English musicologist Richard Langham Smith.
I’m quite grateful for the inclusion of Takemitsu on this album – he seems to have been a rather fascinating character, and I’ve been digging into his works since getting this spotlight ready. If you’re not already familiar, I’d recommend doing the same!
On Mozart’s Clarinet Concerto (tracks 1 to 3):
The Clarinet Concerto was Mozart’s last orchestral work, completed in October of 1791, just two months before is death. It was written for his friend Anton Stadler, whose specialty was the basset-horn, a type of clarinet with an extended range a major third lower than the standard instrument…
The work is rightly considered a masterpiece: it has that hymnic maturity of the the composer’s late works…The composer delights in the exploration of sonorities, not only contrasting the different registers of the clarinet, with notable passages for the low ‘chalumeau’ register, but also using a reduced orchestra which omits the oboes, the more to highlight the reedy voice of the soloist.
…the first and second movements have darker passages which wander into unpredictable keys and exploit the slightly sinister qualities of the clarinet’s lowest register…The Rondo form of the final movement, with its jolly rhythmic theme, conceals hidden depths: against the episodes sometimes stray into deeper waters.
On Debussy’s First Rhapsody (track 4):
Debussy’s Clarinet Rhapsody was first written as…a competition piece for conservatoire students, with piano accompaniment…it was started in December 1909 and completed the following month.
Those who know Debussy’s piece in the version with piano will have an extra dimension of enjoyment added as they hear Debussy’s thoroughly pianistic sonorities transformed, rather than transcribed. Its piano accompaniment, often reliant on a cloud of resonance created by the sustaining pedal, here takes on quite a different character.
Maybe the piece ranks more among those pieces whose impetus was external rather than stemming from a burning artistic idea, but if it is a pot-boiler then it is none the worse for it…Why it was entitled the ‘first’ rhapsody is a matter of surmise: there is no sequel.
On Takemitsu’s Fantasma/Cantos (track 5):
[Toru Takemitsu] has come to be recognised as a major figure: perhaps best described as a voice of the East who expresses himself with the language and instruments of the West…he was largely self-taught, and if he may be allied to a French rather than a Germanic tradition it is perhaps because of his highlighting of timbre – and even silence – as a major component of his musical expression.
First performed in 1991, Fantasma/Cantos was commissioned by the British Broadcasting Corporation…The orchestra is large and includes a large percussion section including tuned percussion and Thai or Indonesian gongs. Takemitsu himself has explained the relevance of the title: “…’Fantasma’ (fantasy) and ‘Cantos’ (song) – are synonymous. After a brief introduction, a clear melody line, as a result of colourful orchestral figuration, ambiguously undergoes metamorphosis. The structure of the work is influenced by Japanese landscape gardens in the ‘go-round’ style. You walk along the path, stopping here and there to contemplate, and eventually find yourself back where you started from. Yet it is no longer the same starting point.”
- Songlink: Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart’s Klarinettenkonzert / Debussy’s Première Rapsodie / Takemitsu’s Fantasma/Cantos
- Discogs: Sabine Meyer, Berliner Philharmoniker, Claudio Abbado – Mozart’s Klarinettenkonzert / Debussy’s Première Rapsodie / Takemitsu’s Fantasma/Cantos
#BerlinPhilharmonic #clarinet #classicalMusic #ClaudioAbbado #Debussy #Mozart #music #musicDiscovery #SabineMeyer #ToruTakemitsu
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“Hey Siri. Play The Planets Mars by The Berlin Philharmonic and Herbert von Karajan.”
#Nite #HomePod #Music #BerlinPhilharmonic
Apple Music: https://music.apple.com/gb/album/the-planets-op-32-i-mars-the-bringer-of-war/1452232714?i=1452232728
Spotify: https://open.spotify.com/track/1C3RIRKQZhSk5d2iioIhkg
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“Hey Siri. Play The Planets Mars by The Berlin Philharmonic and Herbert von Karajan.”
#Nite #HomePod #Music #BerlinPhilharmonic
Apple Music: https://music.apple.com/gb/album/the-planets-op-32-i-mars-the-bringer-of-war/1452232714?i=1452232728
Spotify: https://open.spotify.com/track/1C3RIRKQZhSk5d2iioIhkg
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“Hey Siri. Play The Planets Mars by The Berlin Philharmonic and Herbert von Karajan.”
#Nite #HomePod #Music #BerlinPhilharmonic
Apple Music: https://music.apple.com/gb/album/the-planets-op-32-i-mars-the-bringer-of-war/1452232714?i=1452232728
Spotify: https://open.spotify.com/track/1C3RIRKQZhSk5d2iioIhkg
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“Hey Siri. Play The Planets Mars by The Berlin Philharmonic and Herbert von Karajan.”
#Nite #HomePod #Music #BerlinPhilharmonic
Apple Music: https://music.apple.com/gb/album/the-planets-op-32-i-mars-the-bringer-of-war/1452232714?i=1452232728
Spotify: https://open.spotify.com/track/1C3RIRKQZhSk5d2iioIhkg
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“Hey Siri. Play The Planets Mars by The Berlin Philharmonic and Herbert von Karajan.”
#Nite #HomePod #Music #BerlinPhilharmonic
Apple Music: https://music.apple.com/gb/album/the-planets-op-32-i-mars-the-bringer-of-war/1452232714?i=1452232728
Spotify: https://open.spotify.com/track/1C3RIRKQZhSk5d2iioIhkg
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My favourite recording of Holst's Planet Suite.
Holst: The Planets, Op. 32 - Berlin Philharmonic & Herbert von Karajan (1981)
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My favourite recording of Holst's Planet Suite.
Holst: The Planets, Op. 32 - Berlin Philharmonic & Herbert von Karajan (1981)
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My favourite recording of Holst's Planet Suite.
Holst: The Planets, Op. 32 - Berlin Philharmonic & Herbert von Karajan (1981)
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My favourite recording of Holst's Planet Suite.
Holst: The Planets, Op. 32 - Berlin Philharmonic & Herbert von Karajan (1981)
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My favourite recording of Holst's Planet Suite.
Holst: The Planets, Op. 32 - Berlin Philharmonic & Herbert von Karajan (1981)
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The Moldau by Smetana performed by The Berlin Philharmonic and Herbert von Karajan came up on random play as I was testing my HomePod’s after updating their OSes. It’s divine 🥰
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The Moldau by Smetana performed by The Berlin Philharmonic and Herbert von Karajan came up on random play as I was testing my HomePod’s after updating their OSes. It’s divine 🥰
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The Moldau by Smetana performed by The Berlin Philharmonic and Herbert von Karajan came up on random play as I was testing my HomePod’s after updating their OSes. It’s divine 🥰
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The Moldau by Smetana performed by The Berlin Philharmonic and Herbert von Karajan came up on random play as I was testing my HomePod’s after updating their OSes. It’s divine 🥰
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The Moldau by Smetana performed by The Berlin Philharmonic and Herbert von Karajan came up on random play as I was testing my HomePod’s after updating their OSes. It’s divine 🥰
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There’s a new Berlin Philharmonic and Kirill Petrenko release of Sergei Rachmaninoff pieces on Apple Music. The Symphonic Dances are fab. Songwhip doesn’t list it as being available on other platforms. It might be an Apple Classical only release. The Symphonic Dances, Op. 45: I. Non allegro track is on my #NewMusic playlist for this week.
Music: https://music.apple.com/gb/album/sergei-rachmaninoff/1721247907
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There’s a new Berlin Philharmonic and Kirill Petrenko release of Sergei Rachmaninoff pieces on Apple Music. The Symphonic Dances are fab. Songwhip doesn’t list it as being available on other platforms. It might be an Apple Classical only release. The Symphonic Dances, Op. 45: I. Non allegro track is on my #NewMusic playlist for this week.
Music: https://music.apple.com/gb/album/sergei-rachmaninoff/1721247907
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There’s a new Berlin Philharmonic and Kirill Petrenko release of Sergei Rachmaninoff pieces on Apple Music. The Symphonic Dances are fab. Songwhip doesn’t list it as being available on other platforms. It might be an Apple Classical only release. The Symphonic Dances, Op. 45: I. Non allegro track is on my #NewMusic playlist for this week.
Music: https://music.apple.com/gb/album/sergei-rachmaninoff/1721247907
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There’s a new Berlin Philharmonic and Kirill Petrenko release of Sergei Rachmaninoff pieces on Apple Music. The Symphonic Dances are fab. Songwhip doesn’t list it as being available on other platforms. It might be an Apple Classical only release. The Symphonic Dances, Op. 45: I. Non allegro track is on my #NewMusic playlist for this week.
Music: https://music.apple.com/gb/album/sergei-rachmaninoff/1721247907
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There’s a new Berlin Philharmonic and Kirill Petrenko release of Sergei Rachmaninoff pieces on Apple Music. The Symphonic Dances are fab. Songwhip doesn’t list it as being available on other platforms. It might be an Apple Classical only release. The Symphonic Dances, Op. 45: I. Non allegro track is on my #NewMusic playlist for this week.
Music: https://music.apple.com/gb/album/sergei-rachmaninoff/1721247907
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This year’s #BerlinPhilharmonic digital concert hall free brochure and 7-day ticket just arrived🤩 I love #freestuff 😁
#classicalmusic -
Next up? "Mozart y Mambo - Rondo alla Mambo!", courtesy of Berlin Philharmonic hornist Sarah Willis and the Havana Lyceum Orchestra:
https://www.youtube.com/watch?v=m1FSR3wKgrk
#TimelineCleanse #Music #Mozart #Horn #Mambo #BerlinPhilharmonic #HavanaLyceumOrchestra
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Next up? "Mozart y Mambo - Rondo alla Mambo!", courtesy of Berlin Philharmonic hornist Sarah Willis and the Havana Lyceum Orchestra:
https://www.youtube.com/watch?v=m1FSR3wKgrk
#TimelineCleanse #Music #Mozart #Horn #Mambo #BerlinPhilharmonic #HavanaLyceumOrchestra
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Next up? "Mozart y Mambo - Rondo alla Mambo!", courtesy of Berlin Philharmonic hornist Sarah Willis and the Havana Lyceum Orchestra:
https://www.youtube.com/watch?v=m1FSR3wKgrk
#TimelineCleanse #Music #Mozart #Horn #Mambo #BerlinPhilharmonic #HavanaLyceumOrchestra
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Next up? "Mozart y Mambo - Rondo alla Mambo!", courtesy of Berlin Philharmonic hornist Sarah Willis and the Havana Lyceum Orchestra:
https://www.youtube.com/watch?v=m1FSR3wKgrk
#TimelineCleanse #Music #Mozart #Horn #Mambo #BerlinPhilharmonic #HavanaLyceumOrchestra
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Next up? "Mozart y Mambo - Rondo alla Mambo!", courtesy of Berlin Philharmonic hornist Sarah Willis and the Havana Lyceum Orchestra:
https://www.youtube.com/watch?v=m1FSR3wKgrk
#TimelineCleanse #Music #Mozart #Horn #Mambo #BerlinPhilharmonic #HavanaLyceumOrchestra