A440 / Stochastic Hit Parade with Bethany Ryker:
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from May 19, 2020
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All the spectacle and clamor you crave...without those pesky crowds.
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May 19, 2020: A440, Op. 5, No. 30, Tenenbaums / Enescu Cello Sonata: Mystery SOLVED
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| Artist | Track | Album | Label | Comments | Approx. start time | |||||
|---|---|---|---|---|---|---|---|---|---|---|
| Mihailo Trandafilovski |
Diptych: I. Dance-Ascent (2010-2012)
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Peter Shepard Skaerved - violin with the Longbow Chamber Ensemble | 0:00:00 (Pop-up) | |||||||
| Mystery Cello Piece | 0:14:59 (Pop-up) | |||||||||
| George Enescu |
Sonata for Cello in F Minor, Op. 26, No. 1, I.
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Valentin Radutiu, cello & Per Rundberg, piano | 0:25:53 (Pop-up) | |||||||
| Jean-Philippe Rameau |
Le Rappel des oiseaux
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Scott Ross, clavecin. Live Recording 1985 | 0:35:44 (Pop-up) | |||||||
| Jean-Philippe Rameau |
Le Rappel des oiseaux
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Heiner Goebbels and Alfred 23 Harth, Live at Victoriaville | 0:38:10 (Pop-up) | |||||||
| Jean-Philippe Rameau |
Le Rappel des oiseaux
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Jill Crossland - piano | 0:41:19 (Pop-up) | |||||||
| Adriana Hölszky |
Horfenster fur Franz Liszt
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Georg Frederich Schenk - prepared piano | 0:44:28 (Pop-up) | |||||||
| Jennifer Higdon |
Sky Quartet: III. Fury (1997/200)
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0:56:56 (Pop-up) | ||||||||
| Jacques Duphly |
Médée, Vivement en fort, 3e Livre (1756)
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Duphly: Pièces de clavecin | Alpha | Elisabeth Joyé - clavecin | ||||||
| Vittorio Rieti |
Sonata Breve for Violin and Harpsichord: I. Alegretto mosso
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Reiti: Music for Harpsichord & Instruments | Anthology of Recorded Music | Carol Lieberman - violin and Mark Kroll - harpsichord | ||||||
| Sonata Breve for Violin and Harpsichord: III. Allegro | ||||||||||
| Jukka Tiensuu |
Fantango (1984)
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https://tiensuu.fi/Scores/Tiensuu_Fantango.pdf | ||||||||
| Jukka Tiensuu |
Études for Harpsichord: Train (2000)
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Program note? Take your pick: 1) Wouldn't it be rather mischievous to give an openminded listener unnecessary prejudices for a piece that he or she is about to hear for the very first time? Important in a composition are not the thoughts of the composer but the thoughts the music incites in the listener and the small enlightenments they may lead the listener to. 2) All comments before a performance of a piece would only narrow the listener's focus, direct his attention away from the plethora of alternative interpretations and prevent him experiencing the music on his own terms. I'd rather have everyone's associations fly freely and let the music speak for itself – which it does only better when the creator gets out of the way. or 3) Tiensuu has systematically refrained from providing his works with programme notes. In renouncing the role of spokesman for his own music, he is trying to grant his audience the full joy and responsibility of reception. This attitude is an unqualified vote of confidence to the eloquence of music. (Harri Suilamo, 1992) | ||||||||
| Études for Harpsichord: Drain | ||||||||||
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Listener comments!
mariano:
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Bethany Ryker:
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bluebombers b:
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thanks, Olivia!
see you all!
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