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luís soares

Blog do escritor Luís Soares

Widmann: Viola Concerto

Jörg Widmann: Viola Concerto

00:00 Pizzicato. Molto rubato – Più mosso
10:59 Sehr langsam – Calmo
17:12 Poco vivo subito
19:53 Toccata. Presto 21:25 Aria. Molto Adagio

Antoine Tamestit, Viola / SWR Symphonieorchester Teodor Currentzis, Dirigent - Livemitschnitt in der Stuttgarter Liederhalle vom 8. April 2022.


Mozart: Piano Concerto No. 20 | Stefan Vladar (Piano) & Kammerorchester Carl Philipp Emanuel Bach

It is considered Mozart’s first symphonic concert and is an era-defining masterpiece. Pianist Stefan Vladar and the Kammerorchester Carl Philipp Emanuel Bach under the baton of Hartmut Haenchen performed Mozart’s Piano Concerto No. 20 in D minor, K. 466 at the Konzerthaus Berlin in 2005.

(00:00) I. Allegro
(12:49) II. Romanze
(21:02) III. Rondo. Allegro assai

Between 1784 and 1786, Wolfgang Amadeus Mozart (1756-1791) wrote twelve piano concertos, many of which are significant in the history of the genre. He completed his Piano Concerto No. 20 on February 10, 1785, and it was premiered in Vienna one day later, with Mozart himself playing the solo part.

Piano Concerto No. 20 is the first of only two piano concertos by Mozart in a minor key. It shares the key of D minor with works such as the Requiem and the overture from Don Giovanni. In Mozart's music, D minor stands for the highest levels of drama and expressiveness. The D minor concerto is considered Mozart’s first “symphonic concerto”. This had already been hinted at in his nineteenth piano concerto with large, independent orchestral passages and the solo piano as an occasional accompanying element.

The main movement ends in a Piano, which is rare in Mozart’s pieces and at first glance does not fit the dramatic character of the work. Rather, it contains a large-scale interlinking of the movements’ content. The resolution of the musical conflicts sparked takes place in the two further movements of the concerto. This approach of an overall artistic concept was to be pursued prevail to perfection in the following musical eras.

With the Piano Concerto No. 20 at the latest, Mozart overcame the obligation of music to follow the entertainment ideals of its time and he found individual artistic freedom – another reason why Concerto K. 466 is a special work.

Haydn 52

Joseph Haydn - Symphony No. 52 in C minor, Hob.I:52

I. Allegro assai con brio 00:00
II. Andante 07:07
III. Menuetto e trio. Allegretto 15:43
IV. Finale. Presto 19:23

Alexander Sitkovetsky, artistic director - Norwegian Chamber Orchestra
Live recording from Sentralen, Oslo on 9 November 2021.

Spitting Off the Edge of the World

Yeah Yeah Yeahs - Spitting Off the Edge of the World ft. Perfume Genius

Cowards! Here’s the sun
So bow your heads
In the absence of bombs
Draw your breath
Dark, dark places shall be none
She’s melting houses of gold
And the kids cry out
We’re spitting off the edge of the world
Out in the night
Never had no chance
Nowhere to hide
spitting off the edge of the world
Out comes the sun
Never had no chance
Nowhere to run
Mama what have you done
I trace your steps
In the darkness of one
Am I what’s left
Silver lines whisper to me
Wounded arms must carry the load
And the kids cry out
We’re spitting off the edge of the world
Out in the night
Never had no chance
Nowhere to hide
spitting off the edge of the world
Nowhere to run
Never had no chance
Out comes the sun
spitting off the edge of the world
Winds from the sky
Never had no chance
Will watch us rise


With Katia and Marielle Labèque on fortepianos, the Concerto in C major for two harpsichords, strings and basso continuo (BWV 1061) by Johann Sebastian Bach is played here on period instruments by the ensemble Il Giardino Armonico under the baton of Giovanni Antonini. What is different here is that, instead of harpsichords, the Labèque sisters play fortepianos. The concert took place in 2000 at the Musikverein in Vienna.

00:00 I. without tempo designation
07:15 II. Adagio ovvero Largo
11:56 III. Fugue

The 13 concertos that Johann Sebastian Bach (1685 - 1750) wrote for one or more harpsichords with orchestral accompaniment are significant in music history. In a sense, they mark the beginning of the story of the piano concerto, which was then developed by the Bach sons. In almost all of the harpsichord concertos, Bach drew on his own earlier works and arranged them for this keyboard instrument, which was popular at the time. The harpsichord concertos were written for the Collegium Musicum in Leipzig, a student orchestra that Bach led from 1723 and with which he held regular concerts in a coffee house.

The Concerto for two harpsichords, strings and basso continuo in C major, written between 1732 and 1735, was probably originally meant for two harpsichords only. This, at least, is suggested by the fact that the string orchestra has no independent role. In the first and third movements it only doubles the harpsichord part, in the middle movement the two keyboard instruments even play without accompaniment.

The special feature of this concerto is that Katia and Marielle Labèque play the harpsichord part on fortepianos. Thus, although the sound seems historical, it has a much sharper profile. A delight for the two virtuosic pianists!

Leif Ove Andsnes: Tiny Desk (home) Concert

Tom Huizenga | April 8, 2022

The Norwegian pianist Leif Ove Andsnes is binging Mozart. He's just released his second double album in a row of the composer's piano music, and for this very special Tiny Desk performance, he takes us inside Mozart's own home in Vienna, just steps away from the medieval St. Stephen's Cathedral and a couple blocks from a McDonald's.

Mozart might have appreciated the convenience of the fast food chain, as the years he spent in this two-floor, four-bedroom apartment (from 1784 to 1787) were a non-stop frenzy of activities. Andsnes says the composer threw gambling parties, taught students and, above all, composed some of his most groundbreaking music in this house, including the two works heard in this recital.

Andsnes begins with four minutes of radiant joy and virtuosity. The D major Rondo showcases not only Mozart's own skills as an unrivaled keyboardist, but also his genius as a composer with a bottomless bag of tricks to play with the music's principal theme.

The following Fantasia in C minor, composed one year earlier, in 1785, couldn't be more different. At three times the Rondo's length, it begins in a foreboding tone, with heavy, darkly colored chords, sounding perhaps like Beethoven in a bad mood. But the clouds soon open to rays of sunshine in melodies only Mozart could create, including a recurring passage of intense delicacy and yearning, which Andsnes delivers with the sensitivity of a lover's whisper. In its many fascinating mood swings, the piece feels like Mozart simply sat down in these rooms and improvised his mixed emotions. And thanks to Andsnes, we can catch a vibe of what that might have sounded like.

Mozart: Rondo in D Major, K. 485
Mozart: Fantasia in C Minor, K. 475

Leif Ove Andsnes: piano

Video and audio: Anthony Jacobson, Perdurabo Film
Recorded at: Mozarthaus Vienna

Ay mamá

Videoclip de 'Ay mamá' de Rigoberta Bandini.
Producido por Mañana
Postproducido por Limp
Dirigido por Salvador Sunyer

Tú que has sangrado tantos meses de tu vida
Perdóname antes de empezar
Soy engreída y lo sabes bien
A ti que tienes siempre caldo en la nevera
Tú que podrías acabar con tantas guerras

Mamá, mamá, mamá
Paremos la ciudad
Sacando un pecho fuera al puro estilo Delacroix
Mamá, mamá, mamá

Por tantas ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma
Ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma, mamá
Todas las ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma
Ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma, mamá

Tú que amarraste bien tu cuerpo a mi cabeza
Con ganas de llorar, pero con fortaleza

Mamá, mamá, mamá
Paremos la ciudad
Sacando un pecho fuera al puro estilo Delacroix
Mamá, mamá, mamá

Por tantas ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma
Ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma, mamá
Todas las ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma
Ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma (mami)

Ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma, mamá
Vivan las ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma

No sé por qué dan tanto miedo nuestras tetas
Sin ellas no habría humanidad ni habría belleza
Y lo sabes bien
(Lo sabes bien) lo-lo-lo-lo-lo-lo-lo-lo-lo-lo-lo-lo-lo
Mamá, mamá, mamá

Pires, Mendelssohn, Mozart, Schumann

La pianiste Maria-João Pires s’associe à l’Orchestre Philharmonique de Monte-Carlo pour donner au Festival de Pâques d’Aix-en-Provence un concert rythmé par la musique de Mozart, Mendelssohn et Schumann.

La pianiste d’origine portugaise Maria-João Pires est de retour à Aix-en-Provence pour y jouer le Concerto pour piano n° 9 en mi bémol majeur de Mozart. Grande connaisseuse du répertoire mozartien, la soliste livre sur la scène du Grand Théâtre de Provence une interprétation vive et épurée de cette œuvre célébrée dès sa création pour son inventivité.

Fidèle à l’esprit d’ouverture du Festival de Pâques d’Aix-en-Provence, ce concert fait également la part belle à la musique romantique. Sous la direction de Kazuki Yamada en effet, l’Orchestre Philharmonique de Monte-Carlo interprète l’ouverture du Songe d’une nuit d’été de Felix Mendelssohn et la Symphonie n° 1 en si bémol majeur de Robert Schumann.

Felix Mendelssohn - Ein Sommernachtstraum (Le Songe d’une nuit d’été), ouverture, op. 21
Wolfgang Amadeus Mozart - Concerto pour piano n° 9 en mi bémol majeur « Jeunehomme », K. 271
Robert Schumann - Symphonie n° 1 en si bémol majeur, « Le Printemps », op. 38

Concert filmé le 10 avril 2022 au Grand Théâtre de Provence, Aix-en-Provence.