Former Member

Congratulations, astone2292!

Cecil Coles wrote some ambitious pieces before the start of the First World War, like the overtures to Macbeth and Comedy of Errors, but he is best remembered for his Behind the Lines Suite composed while in uniform (especially the gut-wrenching cortege). Here James Willshire performs the second movement from the last piece of music the man was able to mail out, even though the MS seems to have been partially ruined by rain and mud. "Her Picture" from Five Sketches.

Kun Woo Paik performs Fauré's Op. 17 - 3. Andante moderato

Ever since I read your comment, this movement from the Haffner Serenade has been playing through my head...

Maria João Pires, with Mazuki Yamada leading the Orchestre Philharmonique de Monte Carlo, perform the minor key andantino from Mozart's Jeunehomme piano concerto. Mademoiselle Jeunehomme was a blind traveling virtuoso.

Thank you for listening, Parker. As 19th century / early 20 century musicologists furthered their whole-cloth categories of "baroque," "classical" and "romantic," they pushed important composers like Galuppi aside. They were heavily invested in their own pronouncements, and artists like Galuppi who should be "baroque" based on his birth year (that is, sound like Bach, in their minds) did not match their classifications, so threw his legacy away. Thanks to popular performances in Italy, Galuppi has slowly re-reached the place he deserves.

Ilse de Ziah performs the 14th century elegy Egidius, waer bestu bleven on solo cello. For the lyrics and translation, please see this Great Mirror of Same-Sex Love entry

I've listened to this several times, but don't find much soul in it, nor do I see how the music was progressive considering the composer's time setting and the state of the art furthered by Carl Philipp Emanuel Bach. By comparison, the piano works of Galuppi (who was born a few years earlier) are forward-looking and incredible with musical emotion and invention, as exemplified in this sonata in g-minor: Piano Sonata No. 7 in G Minor: 00:26:47 I. Largo 00:30:49 II. Presto 00:32:42 III. Allegretto Up with Galuppi!

Nice, but I'd posit Erich Wolfgang Korngold set the gold standard for Shakespeare on film in 1935 with his score for Midsummer Night's Dream, blending stage snippets from Mendelssohn. This score's influence has been felt in all subsequent movie music for the Bard of Avon.

Watched, but don't you like Cavalli? To me, the prospects of having to listen to emotionally-vacant Monteverdi rills rattle through his vocalists' throats is like being sat before a bowl of Weetabix -- with no sugar, and little to no milk. By contrast, every nuance of Cavalli's vocal music is alive with honest, connected human emotion. Most of the time, because of the penetrating depths the composer reaches, his characters expose feelings of an openly erotic nature. Here is a bowl of Frosted Mini Wheats soaking up whole-milk in tempting, luscious humanness. This is our first sight of Maria Bayo's portrayal of Calisto. The young woman sings of her rewarding love relationship with the goddess Diana. (Queers Rule!)

April 15th! The sap should be rising; spring should be pushing from inside of us too. Who better to capture this restless urge than a force of Nature himself? Performing a work premiered on this day, Sylvia McNair and the Academy of Saint-Martins-in-the-Fields led by Nelville Marriner present Alla selva, al prato, al fonte from Mozart's Il re pastore. Crank UP the volume and let all your neighboring trees and flowers hear it as well Alla selva, al prato, al fonte Io n'andrò col gregge amato; E alla selva, al fonte, al prato L'idol mio con me verrà. In quel rozzo angusto tetto, Che ricetto a noi darà, Con la gioia e col diletto L'innocenza albergherà. --Metastasio "To the forest, to the meadow, to the spring I will go with my beloved flock; And to the wilderness, the meadow, and the fountain My idol will come with me. In that crude, narrow roof Which will give us shelter, With joy and with delight Innocence will dwell." --Metastasio _

James Weldon Johnson's "Lift Every Voice and Sing," performed by the The Southern Sons in 1942 "Lift every voice and sing Till earth and heaven ring Ring with the harmonies of Liberty Let our rejoicing rise High as the listening skies Let it resound loud as the rolling sea. Sing a song full of the faith that the dark past has taught us Sing a song full of the hope that the present has brought us Facing the rising sun of our new day begun Let us march on till victory is won Sing a song full of the faith that the dark past has taught us Sing a song full of the hope that the present has brought us Facing the rising sun of our new day begun Let us march on till victory is won."

. "My, my. What will they think of next..."

Gorgeous! We have so much to learn concerning what 1760 actually sounded like 31:44: Quid sum miser

Hugs

. ...all of that for only one pound seventy...

. "It's short and sweet, but nobody wants to see it."* --------- *You have to be a real old timer to get that joke and know where I stole it

Congratulations, Mawgrim!

Heard this tonight in the "This is Going to Hurt" soundtrack. I love this version! M. Ward's acoustic version of Let's Dance

I hope you decide to tackle these new ones. You have a nice cushion of time between now and the end of April to try your hand at as many as you like. Hopefully you -- and everyone who tries them -- will have fun

Only yesterday did I notice a poem by Dorothy Parker qualifies as an 8-10 Ballad. Here is it for added inspiration The Passionate Freudian to His Love i. Only name the day, and we’ll fly away In the face of old traditions, To a sheltered spot, by the world forgot, Where we’ll park our inhibitions. Come and gaze in eyes where the lovelight lies As it psychoanalyzes, And when once you glean what your fantasies mean Life will hold no more surprises. When you’ve told your love what you’re thinking of Things will be much more informal; Through a sunlit land we’ll go hand-in-hand, Drifting gently back to normal. While the pale moon gleams, we will dream sweet dreams, And I‘ll win your admiration, For it’s only fair to admit I ‘m there With a mean interpretation. ii. In the sunrise glow we will whisper low Of the scenes our dreams have painted, And when you’re advised what they symbolized We’ll begin to feel acquainted. So we’ll gaily float in a slumber boat Where subconscious waves dash wildly; In the stars’ soft light, we will say good-night— And “good-night!” will put it mildly. Our desires shall be from repressions free— As it’s only right to treat them. To your ego’s whims I will sing sweet hymns, And ad libido repeat them. [...] So come dwell a while on that distant isle In the brilliant tropic weather; Where a Freud in need is a Freud indeed, We’ll be always Jung together. —Dorothy Parker (I've formatted this piece so there is no confusion on what form the 8-10 Ballad should take. You can find the full work, and many other delightful (and Gay!) Dorothy Parker poems here.) _

A stunning performance; a touching rendering of a voice from an age of war, to our own sad reality as one now. Stefan Sanderling leads the Orchestre de Bretagne in the overture of Étienne-Nicolas Méhul's Ariodant @Parker OwensMakes a good selection for the movie version of Carême in Brighton, no...?

. The rare G.I. Joe who's honest about his endowment or "Don't let the size of my boots fool ya."

Solid. He has a great voice, and it's nice the how the various band members back up the vocals along the way, one by one