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#franzschubert — Public Fediverse posts

Live and recent posts from across the Fediverse tagged #franzschubert, aggregated by home.social.

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  1. Alcaldía Cuauhtémoc coloca 12 estaciones contra roedores tras reportes vecinales en Peralvillo

    La Alcaldía Cuauhtémoc realizó una jornada de control de roedores en Peralvillo, donde colocó 12 estaciones en madrigueras ubicadas en jardineras de la calle Franz Schubert.

    Por Fausto Hernández | Reportero                                                       

    La Alcaldía Cuauhtémoc colocó 12 estaciones de control de roedores en la colonia Peralvillo, luego de recibir reportes vecinales sobre la presencia de estos animales en la calle Franz Schubert, en el tramo comprendido entre Debussy y Ernesto Elorduy.

    Personal de la Dirección General de Servicios Urbanos instaló las estaciones en madrigueras localizadas en algunas jardineras, como parte de una intervención para controlar la población de roedores y dar seguimiento a su comportamiento en la zona.

    El procedimiento forma parte del esquema de manejo integrado de roedores que aplica la demarcación en puntos considerados críticos. El método contempla la inspección del área, recopilación de datos, selección de la estrategia de control, aplicación y monitoreo posterior.

    Control de roedores en zonas críticas

    Las estaciones permiten mantener el cebo protegido de la intemperie y reducir el riesgo de contacto con mascotas y fauna no objetivo.

    La estrategia también busca disminuir la exposición accidental de menores y otros animales al material utilizado para el control de roedores, al concentrarlo dentro de dispositivos instalados en puntos específicos.

    La alcaldía informó que este esquema ya se ha aplicado en diferentes zonas de la demarcación y que las intervenciones se determinan a partir de las condiciones particulares de cada sitio.

    Los reportes vecinales continuarán siendo atendidos mediante jornadas de inspección, control y seguimiento en las zonas donde se detecte presencia de roedores. –sn–

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    #NoticiasMX #PeriodismoParaTi #PeriodismoParaTiSociedadNoticias #alcaldíaCuauhtémoc #Cdmx #CiudadDeMéxico #ColoniasCDMX #controlDeRoedores #Cuauhtémoc #desratización #faunaNociva #FranzSchubert #Información #InformaciónMéxico #México #Morena #noticia #noticias #NoticiasMéxico #NoticiasSociedad #Peralvillo #reportesVecinales #roedores #seguridadSanitaria #serviciosUrbanos #SN #Sociedad #SociedadNoticias #SociedadNoticiasCom #sociedadNoticias #SociedadNoticiasCom
  2. I had the stupid idea to turn #Goethe’s ballad #Erlkönig into a song, by using #Suno #AI.

    Yes, it's just silly #AiSlob, I know and I’m sorry. It was supposed to be for fun, not for publication.

    Anyway, Suno refused, claiming my lyrics contain ‘copyrighted material’!

    What the actual fek’? The translator (Edgar Alfred Bowring) died in 1911 and Goethe himself in 1832. I’m sure it’s #PublicDomain by now! 🤦

    Oh, well... Back to #FranzSchubert’s version, I guess. 🤷

    #music #copyright #wtf

  3. I had the stupid idea to turn #Goethe’s ballad #Erlkönig into a song, by using #Suno #AI.

    Yes, it's just silly #AiSlob, I know and I’m sorry. It was supposed to be for fun, not for publication.

    Anyway, Suno refused, claiming my lyrics contain ‘copyrighted material’!

    What the actual fek’? The translator (Edgar Alfred Bowring) died in 1911 and Goethe himself in 1832. I’m sure it’s #PublicDomain by now! 🤦

    Oh, well... Back to #FranzSchubert’s version, I guess. 🤷

    #music #copyright #wtf

  4. I had the stupid idea to turn #Goethe’s ballad #Erlkönig into a song, by using #Suno #AI.

    Yes, it's just silly #AiSlob, I know and I’m sorry. It was supposed to be for fun, not for publication.

    Anyway, Suno refused, claiming my lyrics contain ‘copyrighted material’!

    What the actual fek’? The translator (Edgar Alfred Bowring) died in 1911 and Goethe himself in 1832. I’m sure it’s #PublicDomain by now! 🤦

    Oh, well... Back to #FranzSchubert’s version, I guess. 🤷

    #music #copyright #wtf

  5. I had the stupid idea to turn #Goethe’s ballad #Erlkönig into a song, by using #Suno #AI.

    Yes, it's just silly #AiSlob, I know and I’m sorry. It was supposed to be for fun, not for publication.

    Anyway, Suno refused, claiming my lyrics contain ‘copyrighted material’!

    What the actual fek’? The translator (Edgar Alfred Bowring) died in 1911 and Goethe himself in 1832. I’m sure it’s #PublicDomain by now! 🤦

    Oh, well... Back to #FranzSchubert’s version, I guess. 🤷

    #music #copyright #wtf

  6. I had the stupid idea to turn #Goethe’s ballad #Erlkönig into a song, by using #Suno #AI.

    Yes, it's just silly #AiSlob, I know and I’m sorry. It was supposed to be for fun, not for publication.

    Anyway, Suno refused, claiming my lyrics contain ‘copyrighted material’!

    What the actual fek’? The translator (Edgar Alfred Bowring) died in 1911 and Goethe himself in 1832. I’m sure it’s #PublicDomain by now! 🤦

    Oh, well... Back to #FranzSchubert’s version, I guess. 🤷

    #music #copyright #wtf

  7. Rheinuferfest: Was vier Tage lang geboten wird – Ludwigshafen

    Das Rheinuferfest in Ludwigshafen findet erstmals an vier Tagen statt: von Donnerstag, 25. Juni, bis Sonntag, 28. Juni,…
    #Mannheim #Deutschland #Deutsch #DE #Schlagzeilen #Headlines #Nachrichten #News #Europe #Europa #EU #Baden-Württemberg #FelixMendelssohnBartholdy #FranzSchubert #Germany #lokal #Ludwigshafen #Rhein #Rheinland-Pfalz #Volkslauf
    europesays.com/de/1118670/

  8. On 31 Jan 1797: #FranzSchubert, Austrian #composer (Unfinished Symphony), born in Vienna, Austria (d. 1828).
    #HappyBirthday #RIP 🪦

  9. On 31 Jan 1797: #FranzSchubert, Austrian #composer (Unfinished Symphony), born in Vienna, Austria (d. 1828).
    #HappyBirthday #RIP 🪦

  10. On 31 Jan 1797: #FranzSchubert, Austrian #composer (Unfinished Symphony), born in Vienna, Austria (d. 1828).
    #HappyBirthday #RIP 🪦

  11. On 31 Jan 1797: #FranzSchubert, Austrian #composer (Unfinished Symphony), born in Vienna, Austria (d. 1828).
    #HappyBirthday #RIP 🪦

  12. On 31 Jan 1797: #FranzSchubert, Austrian #composer (Unfinished Symphony), born in Vienna, Austria (d. 1828).
    #HappyBirthday #RIP 🪦

  13. 🎶 Franz Schubert — Symphony No. 9 in C Major, D.944 "The Great" 🎶

    IV. Finale - Allegro vivace

    Charles Munch · Boston Symphony Orchestra

    youtu.be/0xPSJLQZwBM

    #music #franzschubert

  14. 🎶 Franz Schubert — Symphony No. 9 in C Major, D.944 "The Great" 🎶

    IV. Finale - Allegro vivace

    Charles Munch · Boston Symphony Orchestra

    youtu.be/0xPSJLQZwBM

    #music #franzschubert

  15. 🎶 Franz Schubert — Symphony No. 9 in C Major, D.944 "The Great" 🎶

    IV. Finale - Allegro vivace

    Charles Munch · Boston Symphony Orchestra

    youtu.be/0xPSJLQZwBM

    #music #franzschubert

  16. 🎶 Franz Schubert — Symphony No. 9 in C Major, D.944 "The Great" 🎶

    IV. Finale - Allegro vivace

    Charles Munch · Boston Symphony Orchestra

    youtu.be/0xPSJLQZwBM

    #music #franzschubert

  17. 🎶 Franz Schubert — Symphony No. 9 in C Major, D.944 "The Great" 🎶

    IV. Finale - Allegro vivace

    Charles Munch · Boston Symphony Orchestra

    youtu.be/0xPSJLQZwBM

    #music #franzschubert

  18. Jörg Widmann: ‘Schubert sings because he can’t help it’

    Clarinettist and composer Jörg Widmann (1973) cherishes tradition. His Octet for clarinet, horn, bassoon and string quintet is a tribute to Schubert’s piece of the same name. It will be performed by musicians of the Concertgebouw Orchestra in the small hall of the Amsterdam Concertgebouw on 10 November 2024.

    Although he composed his Octet as a companion piece to Schubert’s work of the same name, it counts one less movement and lasts half as long. ‘This is purely out of respect,’ says Jörg Widmann. ‘I would never dare compare myself to him. Besides, I thought a structure of five movements and twenty-five minutes was just right. And although my piece is quite tonal, I did not aim for a stylistic copy either.’

    Jörg Widmann (c) Marco Borggreve

    Indeed, the spirit of Schubert constantly shines through the notes, which nevertheless bear Widmann’s own unmistakable stamp. Starting with the opening chords. These are borrowed directly from Schubert’s Octet but immediately take a different, more dissonant and expressionistic direction. Widmann’s piece seems like a Schubert in overdrive.

    Forever singing

    ‘I got to know his Octet relatively late, but was immediately impressed by its incessant singing,’ says the composer. ‘Take those endlessly long lines in the second movement, or the clarinet solo in his Eighth Symphony, the Unfinished. To perform those as a clarinettist was an existential experience.’

    ‘Schubert composed over 600 songs, I have always wondered why he sang all his life. I think this is for the same reason a small child whistles or sings in the forest. It is alone, it is afraid. It sings in order to reassure itself it is still there, it exists. To me, that is the essence of Schubertian singing. Adorno once said: “Before Schubert’s music, the tear falls from the eye without first questioning the soul.” That’s exactly the point. Schubert sings because he can’t help it!’

    Compositional crisis

    While working on the Octet, Widmann experienced a compositional crisis: ‘That was in 2003-4. I felt I could compose anything and everything, but failed to bring instruments to sing. It was a phase of severe self-criticism. I wanted to write about Schubert’s singing and threw myself maniacally into the Octet, and never stopped singing. Hopefully it sounds joyful indeed.’

    Song-like it certainly is, but joyful? Rather, it is desperate and dark. The third movement in particular, ‘Lied ohne Worte’, has an incisive drama. Desolate melodic lines drift from horn to violin, from clarinet to bassoon and to the other strings. Anxiously swelling fortissimi and restrained whispers evoke a deep loneliness. Towards the end, we even seem to hear a plaintive human voice.

    Vulnerable beauty

    ‘Exactly! That’s the double bass playing vertically on the comb, like a saw,’ exclaims Widmann. ‘This is the most important part. It is a sustained weeping, which is why I used so many ‘impure’ microtones. Ever since Monteverdi, a descending minor second has represented sadness, but to make it even sadder I reduced the interval even further. A crying person probably doesn’t sound so pure.’ 

    Yet there are lighter passages too, he stresses. ‘At one point it gets louder and louder, it almost hurts your ears. Suddenly we hear major and minor chords, played in flageolets. These are basically pure and clean, like radiant angel voices, but they are very difficult to intone. I have factored in this impurity; it’s like looking at the world through tear-stained eyes, it’s all about a vulnerable beauty.’

    This is followed by a short but fervent Intermezzo. Widmann: ‘This is for dramaturgical reasons. After the extremely desolate and personal middle section, you quasi light-heartedly say: well, and now on with it!’

    Abyssal singing

    The finale opens with the same chords as the first movement. From these nebulae of sound warble up themes of horn, bassoon and clarinet. Increasingly agitated, the musicians seem to be at each other’s throats. Just before the end, the horn howls like a dog in agony. After this, the string players furiously lash their instruments, ever wilder and wilder. Then the music stops abruptly.

    ‘Actually, it’s an anti-finale,’ Widmann says. ‘Like stumbling upon an abyss at full speed. In terror, your breath falters. For me, that is the essential characteristic of Schubert: there’s no more beautiful singing than abyssal singing. I regard my sudden silence as a big question mark: ‘Why, what for?’

    https://www.youtube.com/watch?v=ZblyC5RNyHY

    This article first appeared in the June 2017 issue of Preludium, the monthly magazine of Concertgebouw and Concertgebouw Orchestra

    #FranzSchubert #JörgWidmann #RoyalConcertgebouwOrchestra