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2004 ITS Philharmonic Orchestra, Louis Jullien / All Rights Reserved
Violin Concerto in A minor, BWV 1041
00:00:00 Allegro moderato
00:03:46 Andante
00:09:26 Allegro assai
Violin Concerto in E major, BWV 1042
00:12:56 Allegro
00:20:47 Adagio
00:26:38 Allegro assai
Double Violin Concerto in D minor, BWV 1043
00:29:16 Vivace
00:32:59 Largo, ma non tanto
00:39:19 Allegro
Concerto for 3 Violins and Strings in D major, BWV 1064r
00:43:55 Adagio
00:50:30 Allegro
00:56:07 Allegro
Violin Concerto G minor, BWV 1056r
01:00:42 Allegro
01:04:23 Largo
01:06:58 Presto
Concerto for Violin and Oboe in C minor, BWV 1060r
01:10:06 Allegro
01:14:52 Adagio/ Largo
01:19:31 Allegro
Violin Concerto in D minor BWV 1052a
01:23:03 Allegro
01:31:03 Adagio
01:37:31 Allegro
Concerto for Flute, Violin, Harpsichord and Strings in A minor, BWV 1044
01:45:32 Allegro
01:53:51 Adagio ma non tanto e dolce
01:59:44 Tempo di Allabreve
The first movement, in C♯ minor, is written in an approximate truncated sonata form. The movement opens with an octave in the left hand and a triplet figuration in the right. A melody that Hector Berlioz called a «lamentation», mostly by the right hand, is played against an accompanying ostinato triplet rhythm, simultaneously played by the right hand. The movement is played pianissimo or «very quietly», and the loudest it gets is mezzo forte or «moderately loud».
The adagio sostenuto has made a powerful impression on many listeners; for instance, Berlioz said of it that it «is one of those poems that human language does not know how to qualify. The work was very popular in Beethovens day, to the point of exasperating the composer himself, who remarked to Carl Czerny, „Surely Ive written better things.
Allegretto
The second movement is a relatively conventional scherzo and trio, a moment of relative calm written in D-flat major, the enharmonic equivalent of C♯ major, the more easily-notated parallel major of C♯ minor. Franz Liszt described the second movement as “a flower between two chasms.»[citation needed] The slight majority of the movement is in piano, but a handful of sforzandos and forte-pianos helps to maintain the movements cheerful disposition.
Presto agitato
The stormy final movement (C♯ minor), in sonata form, is the weightiest of the three, reflecting an experiment of Beethovens (also carried out in the companion sonata, Opus 27, No. 1 and later on in Opus 101) placement of the most important movement of the sonata last. The writing has many fast arpeggios and strongly accented notes, and an effective performance demands lively and skillful playing.
It is thought that the C-sharp minor sonata, particularly the third movement, was the inspiration for Frédéric Chopins Fantaisie-Impromptu, which manifests the key relationships of the sonatas three movements.
Of the final movement, Charles Rosen has written «it is the most unbridled in its representation of emotion. Even today, two hundred years later, its ferocity is astonishing.
Beethovens heavy use of sforzando notes, together with just a few strategically located fortissimo passages, creates the sense of a very powerful sound in spite of the predominance of piano markings throughout. Within this turbulent sonata-allegro, there are two main themes, with a variety of variation techniques utilized.
Beethovens pedal mark
See also: Piano history and musical performance, Mute (music), and Piano pedals#Beethoven and pedals
At the opening of the work, Beethoven included a written direction that the sustain pedal should be depressed for the entire duration of the first movement. The Italian reads: „Si deve suonare tutto questo pezzo delicatissimamente e senza sordino“. (»One must play this whole piece [meaning «movement»] very delicately and without dampers.") The modern piano has a much longer sustain time than the instruments of Beethovens day, leaving for a rather blurry and dissonant tone.
One option for dealing with this problem is to perform the work on a restored or replicated piano of the kind Beethoven knew. Proponents of historically informed performance using such pianos have found it feasible to perform the work respecting Beethovens original direction.
00:00 Path 3 (7676)
11:00 Whose name is written on water
22:00 Path 17 (Before the ending of daylight)
48:20 Constellation 1
55:35 Constellation 2
1:10:10 Non-Eternal
1:33:35 Song, Echo
This is a 2 hour looped version of Gnossienne no.1 by the French composer Erik Satie (1866-1925) and was composed in 1890. The piece is marked Lent — Slow.
The first Gnossienne, alongside the first Gymnopedie has got to be one of the most recognisable and most covered classical pieces of all time — and its no wonder — the composition conjures up so many images — mystery, suspense, dread and even violence are the first thoughts that come to my mind.
The score itself is also very interesting to look at — as it is written in free-time, with no bar lines or time signature, and can appear quite unusual to the eye to those more useto looking at more conventional forms of musical notation. But I love the amount of freedom with rhythm and interpretation that such writing allows the performer!