Former Member

Zug is a fascinating word in German. Meanings range from "puff" (like a locomotive), to wanderer, to tractor as a verb. Appears in Zugvogel as migratory bird. In the senses of traveler, migration, one a bit lost, etc., I wonder if way back in the mists of language trees, Zug was related to the familiar-in-English Latinate prefix fug. As in fugitive.

A recondite selection perhaps, but the recordare of Salieri's requiem should not be missed

A favorite of lyricists and song stylists for decades

@Myr Great example sentence -- love it

The three or four would mean the 3rd or 4th hour of sunlight, as Romans divided the light and dark parts of the day into 12 equal "hours", which were not fixed. So 3 or 4 hours after sunrise might still be when many eat their breakfast nowadays

One of my favorite performances of Kuhlau

. . . peregrinate is prettier than obambulate . . . as I'm sure you'll agree

Meanwhile . . .

Tisk, tisk. Cops must have been in the wrong neighborhood

Chopin on the marimba https://youtu.be/v1st0-F3F2s?si=R1obtgMRGL52IfEE

By the way, if anyone is looking for something to read from the Historical Thriller category, Carême in Brighton currently has 33,000 views

The Azahar Ensemble perform Danzi's d minor quintet. Very compelling, so unlike the studio recordings of Danzi where subtleties are bulldozed in favor of "brilliance." Here 5 people actually bring this music alive because they love it

Congratulations, Wolfie!

Galuppi's most oft recorded piano sonata. Remind you of Mozart any? LOL!!!!!!!!!

Tallyho!

And why is Galuppi's piano work so hard to find again . . . ?

It's shocking he died so young, and at the height of his powers as a writer too. A sad day indeed

If you know, you know. Niccolò Piccinni is more responsible for 21st century musical stagecraft than almost anyone else. Not only did his Cecchina of 1760 establish the model of what a perfect comic opera (or play, for that matter) should be, his Iphigénie en Tauride won 'the battle of the clowns' in Paris (over Gluck) and established beyond refute Le grand opéra. No opera coming after Iphigénie en Tauride would remain unaffected. But besides laurels, Cecchina remains perennially fresh. The action married to the music is timless and spiritually refreshing. Love will win. And his Iphigénie en Tauride is ever majestic and tragic on the stage; an intoxicatingly well-balanced draught of chorus usage, the dance, solos and ensanbles to tell an ancient Greek tale as vital and real as your own heartbeat. Here is Jordi Castella performing O Notte, o Dea del mistero solo on piano

And as I understand it, this song cycle meant a great deal to the composer, for though there is a made-up origin story involving a girl, who was actually no more than an acquaintance of the young man -- crafted decades later by a clean-up crew of biographers -- Mahler kept coming back to this early composition to revise it, and ultimately, provide full orchestration for it in the 1890s No one would write this as a reaction to anything but a rejection of one man's love for another

More from the "They Keep So Much From Us" category. Who out there discusses the irrefutable fact that Mahler's song cycle Lieder eines fahrenden Gesellen -- for tenor -- is Gay af? In it, the protagonist first laments his love is getting married; but mein Schatz is the male form. So, a Gay guy is bummed his sweetheart -- a man -- is falling into the trap of conformity and marrying a woman. This tone sets up the entire morose atmosphere of the cycle, coming back around several times in the grammar to hammer home the situation that the be-grieved, lost love is a man. When others try to hide this by having sopranos sing the cycle, the grammar is messed up because the singer also has to be male for the syntax to function correctly. There is simply no argument to be made that Mahler did not "mean" same-sex love to be discussed here, as he himself wrote the text