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September 27 2014

December 21 2012


J.S. Bach, Wachet auf, ruft uns die Stimme, BWV 140

1. Coro: Wachet auf, ruft uns die Stimme (Wake up, the voice calls to us)
2. Recitativo (tenor): Er kommt (He comes)
3. Aria (soprano, bass): Wann kommst du, mein Heil? (When will you come, my salvation?)
4. Chorale (tenor): Zion hört die Wächter singen (Zion hears the watchmen singing)
5. Recitativo: So geh herein zu mir (So come in with me)
6. Aria (soprano, bass): Mein Freund ist mein! (My friend is mine!)
7. Chorale: Gloria sei dir gesungen (May Gloria be sung to you)

(oAnth: recorded probably in the early 1970s)

Elly Ameling Soprano
Aldo Baldin Tenor
Samuel Ramey Bass

London Voices
English Chamber Orchestra
Raymond Leppard Conductor

cf.: the opening chorus in an excellent more recent interpretation

From another complete recording with displayed score, here

Boy Soprano: Alan Bergius
Tenor: Kurt Equiluz
Bass: Thomas Hampson
Chorus master: Gerhard Schmidt-Gaden
Tölzer Knabenchor
Conductor: Nikolaus Harnoncourt
Concentus musicus Wien

More information, texts, and translations are available at this site:

A church cantata by German composer Johann Sebastian Bach (1685-1750), with the cantata chorale based on the Lutheran hymn "Wachet auf, ruft uns die Stimme" ("Sleepers awake, the voice is calling") by Philipp Nicolai. The text is based on the Parable of the Ten Virgins in Matthew 25:1-13, the reading of which is scheduled for the 27th Sunday after Trinity in the Lutheran lectionary. This cantata was first performed in Leipzig on November 25, 1731. Bach later transcribed the fourth movement chorale for organ (BWV 645) and published it along with the Schübler Chorales.

English text:

I. (Chorus)

Wake ye maids! hard, strikes the hour,
The watchman calls high on the tower,
Awake, awake, Jerusalem.
Midnight strikes, hear, hear it sounding,
Loud cries the watch, with call resounding:
Where are ye, o wise virgins, where?
Good cheer, the Bridegroom come,
Arise and take your lamps!
Ye maids beware:
The feast prepare,
So go ye forth to meet Him there.

II. Recitative:

He comes.
The Bridegroom comes!
And Zion's daughter shall rejoice,
He hastens to her dwelling claiming
The maiden of his choice.
The Bridegroom comes; as is a roebuck,
Yea, like a lusty mountain roebuck,
Fleet and fair,
His marriage feast he bids you share.
Arise and take your lamps!
In eagerness to greet him;
Come! hasten, sally forth to meet him.

III. Aria (Duet)

[Soul] Come quickly, now come.
[Jesus] Yea quickly I come.
[Soul] We wait thee with lamps all alighted!
The doors open wide,
Come claim me my bride!
[Jesus] The doors open wide,
I claim me my bride.
[Soul] Come quickly!
[Jesus] Forever in rapture united

IV. Chorale

Zion hears the watchmen calling,
The Faithful hark with joy enthralling,
They rise and haste to greet their Lord.
See, He comes, the Lord victorious,
Almighty, noble, true and glorious,
In Heav'n supreme, on earth adored.
Come now, Thou Holy One,
The Lord Jehovah's Son!
We follow all
The joyful call
To join Him in the Banquet Hall!

V. Recitative

So come thou unto me,
My fair and chosen bride,
Thou whom I long to see
Forever by my side.
Within my heart of hearts
Art thou secure by ties that naught can sever,
Where I may cherish thee forever.
Forget, beloved, ev'ry care,
Away with pain and grief and sadness,
For better or for worse to share
Our lives in love and joy and gladness.

VI. Aria (Duet)

[Soul] Thy love is mine,
[Jesus] And I am thine!
[Both] True lovers ne'er are parted.
[Soul] Now I with thee, and thou with me.
[Jesus] In flow'ry field will wander,
[Both] In rapture united forever to be.

VII. Chorale

Gloria sing all our voices,
With Angels all mankind rejoices,
With harp and strings in sweetest tone.
Twelve bright Pearls adorn Thy Portals,
As Angels round Thy glorious Throne.
No ear has ever heard
The joy we know.
Our praises flow,
Eeo, eeo,
To God in dulci jubilo.

Text of the Parable of the Ten Virgins:

Matthew 25:1-13 (WEB)

'Then the Kingdom of Heaven will be like ten virgins, who took their lamps, and went out to meet the bridegroom. Five of them were foolish, and five were wise. Those who were foolish, when they took their lamps, took no oil with them, but the wise took oil in their vessels with their lamps. Now while the bridegroom delayed, they all slumbered and slept. But at midnight there was a cry, "Behold! The bridegroom is coming! Come out to meet him!" Then all those virgins arose, and trimmed their lamps. The foolish said to the wise, "Give us some of your oil, for our lamps are going out." But the wise answered, saying, "What if there isn't enough for us and you? You go rather to those who sell, and buy for yourselves." While they went away to buy, the bridegroom came, and those who were ready went in with him to the marriage feast, and the door was shut. Afterward the other virgins also came, saying, "Lord, Lord, open to us." But he answered, "Most certainly I tell you, I don't know you." Watch therefore, for you don't know the day nor the hour in which the Son of Man is coming.'

November 30 2012

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Arabella Steinbacher - Beethoven Violin Concerto D-major op. 61 - recorded 2009-12-20 - YouTube

  1. Allegro ma non troppo (D major)
  2. Larghetto (G major)
  3. Rondo. Allegro (D major)

Hochgeladen von ConcertosLive am 17.12.2011


November 23 2012


Georg Friedrich Händel (1685-1759)

Neun deutsche Arien - Nine German Arias

Lyrics from: Barthold Heinrich Brockes (1680-1747)

Lyrics in German and English: see pdf at pp 16-17 or via links given in the song index at the  bottom.


Handel's "nine German arias" (he wrote other arias in German, but this is a discrete group) were written in the mid-1720s, long after the composer left his native Germany for Italy and then booming Great Britain. It is not known why he should have written music in German at that late date, and the pieces have a quietly contented tone that sets them somewhat apart from almost everything else in Handel's oeuvre. The texts are by Hamburg poet Barthold Heinrich Brockes, whose so-called Brockes-Passion had already been set by Handel a decade earlier. They are religious but not exactly sacred -- spiritual in a personal way, perhaps, with a good deal of nature imagery that is only lightly reflected in the music. Instead Handel sticks to the da capo aria pattern, forging a gentle language for the soprano soloist that evokes the outlines of the Italian operatic aria but tones the whole thing down to chamber dimensions.


cited from

*Neun deutsche Arien (Nine German arias)

St. Cecilia's Day - 22nd of November
- Catholic Encyclopedia
- Wikipedia

November 08 2012

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Mozart - Piano Concerto No. 23 in A, K. 488 [complete] - YouTube

Uploaded by Am4d3usM0z4rt on Dec 25, 2011

//... The Piano Concerto No. 23 in A major (K. 488) is a musical composition for piano and orchestra written by Wolfgang Amadeus Mozart. It was finished, according to Mozart's own catalogue, on March 2, 1786, around the time of the premiere of his opera, The Marriage of Figaro. It was one of three subscription concerts given that spring and was probably played by Mozart himself at one of these. The concerto is scored for piano solo and an orchestra consisting of one flute, two clarinets, two bassoons, two horns and strings. In Mozart's later works the wind instruments are equal to the stringed instruments, and this is also the case in this concerto. It has three movements:
1. Allegro in A major and common time.
2. Adagio in F-sharp minor and 6/8 time (in later editions, the tempo is listed as Andante).
3. Allegro assai in A and alla breve (in later editions, the tempo is listed as Presto). In Rondo form.
The first movement is mostly sunny and positive with the occasional melancholic touches typical of Mozart pieces in A major and is in sonata form. The piece begins with a double exposition, the first played by the orchestra, and the second when the piano joins in. The first exposition is static from a tonal point of view and is quite concise, the third theme is not yet revealed. The second exposition includes the soloist and is modulatory. It is also includes the third previously unheard third theme. The second exposition is ornamented as opposed to the first exposition which is not. The second theme has harmonic tension. This is expressed by dissonances that are played on the beat, and then solved by an interval of a second going downwards. This is also expressed in the use of chromatics in the melody and bass lines which is a cause for harmonic tension, as the listeners anticipate the arrival of the tonic.
The second, slow movement, in ternary form, is melancholic and somewhat operatic in tone. The piano begins alone with a theme characterized by unusually wide leaps. This is the only movement by Mozart in F sharp minor. The dynamics are soft throughout most of the piece. The middle of the movement contains a brighter section in A major announced by flute and clarinet that Mozart would later use to introduce the trio "Ah! taci ingiusto core!" in his opera Don Giovanni. The third movement is a vigorous and cheerful rondo, shaded by moves into other keys as is the opening movement (to C major from E minor and back during the secondary theme in this case, for instance) and with a central section whose opening in F sharp minor is interrupted by a clarinet tune in D major, an intrusion that reminds us, notes Girdlestone, that instrumental music at the time was informed by opera buffa and its sudden changes of point of view as well as of scene.
FREE .mp3 and .wav files of all Mozart's music at:
FREE sheet music scores of any Mozart piece at:
ALSO check out these cool sites:
and ... //


Performers probably:

Sir Neville Marriner and Academy of St, Martin in the Fields with Alfred Brendel (recorded in the early 1970s)

April 20 2012


Bademaschinen am Strand der dänischen Insel Fanø:

Eine Badekarre (engl. Bathing Machine) war eine hölzerne Umkleidekabine auf zwei oder vier Rädern, die ins Wasser gezogen wurde. Sie bot im 18. und 19. Jahrhundert vor allem Frauen die Möglichkeit, sittlich korrekt und ungesehen im offenen Meer zu baden. Zu dieser Zeit galt es als unschicklich und anstößig, wenn eine Dame in Sichtweite von Männern badete, auch wenn die damals übliche Badebekleidung noch sehr viel mehr verhüllte als heute.

(Gefunden bei

Reposted fromglaserei glaserei

March 19 2012

Luigi Boccherini's (1743 - 1805) Fandango from Quintet No 4 in D Major, G. 448 in different interpretations

March 18 2012


Joseph Haydn Symphony Nr. 97
C-Dur /C major / Hoboken I/97 (Wikipedia: DE/EN)

Leonard Bernstein, conductor

New York Philharmonic (probably in the 70ies)

Movements with Pdf scores

1. Adagio -- Vivace
2. Adagio
3. Menuetto and Trio: Allegretto
4. Finale: Presto assai

March 07 2012

A selection ( ~1h) of the numerous folk song settings by L.v. Beethoven - songs from Scotland, Wales, Ireland, France, Italy, Spain, German speaking regions, Poland, Russia, Ukraine, Sweden; the 2 drinking songs in a German Volkslied style are B.`s own compositions probably from the early 1790s.

February 21 2012

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Furtwängler - Mozart: Don Giovanni (Salzburg Festival 1954 |  ~ 3h)


Vienna Philharmonic Orchestra 
Choir of the Vienna State Opera

Conductor: Wilhelm Furtwängler


Leporello, Basso - Otto EDELMANN
Donna Anna, Soprano - Elisabeth GRÜMMER
Don Giovanni, Baritone - Cesare SIEPI
Commendatore, Basso - Deszö ERNSTER
Don Ottavio, Tenor - Anton DERMOTA
Donna Elvira, Soprano - Lisa della CASA
Zerlina, Soprano - Erna BERGER
Masetto, Basso - Walter BERRY

February 12 2012

La nature humaine selon David Hume par Gilles Deleuze (Audio)

Enregistrement radiophonique de Gilles Deleuze datant de 1956, trois ans après Empirisme et subjectivité, « Essai sur la nature humaine selon Hume » (P.U.F., 1953)

See it on, via Philosophie en France


L'intérêt de l'interprétation deleuzienne de Hume est d'avoir situé, avant l'ouvrage remarquable de Didier Deleule (Hume et la naissance du libéralisme économique, Aubier, 1979), le centre de la philosophie humienne dans la pratique. «Le souci constant de Hume ne concerne pas le point de vue de la connaissance». Le plus important pour lui n'est pas la théorie de l'association des idées ni la théorie de la causalité auxquelles depuis Kant la tradition tend a réduire son apport, mais «le domaine d'une pratique de l'homme dans la société». Hume fut en particulier l'un des fondateurs de l'économie politique, rappelle Deleuze avant que Deleule ne démontre magistralement qu'il fut aussi le critique de la physiocratie quesnaysienne. Ainsi lit-on dans Empirisme et subjectivité (p. 138) que «l'association des idées ne définit pas un sujet connaissant, mais au contraire un ensemble de moyens possibles pour un sujet pratique dont toutes les fins réelles sont d'ordre passionnel, moral, politique, économique.» Mais Deleuze combat encore l'idée que Hume aurait été le chantre de l'intérêt égoïste bien compris. L'homme n'est pas naturellement égoïste, mais partial. Ce n'est pas la même pensée. Le problème de la société, selon Deleuze que sur ce point Deleule salue dans son livre, n'est pas de limiter les égoïsmes, mais d'«intégrer les sympathies», de faire en sorte «que la sympathie dépasse sa contradiction, sa partialité naturelle» (op. cit., p. 27, et cf. D. Deleule, op. cit., p. 200, note 84). Par là s'éclaire la critique du contrat social dans sa forme lockienne, sinon déjà dans sa version rousseauiste, développée dans Of the original contract (1752, trad. in Discours politiques, bilingue, T.E.R, 1993).

Ce sont ces thèmes directeurs de la lecture deleuzienne de Hume que l'on retrouvera dans la communication radiodiffusée de 1956, introduction vivante à Empirisme et subjectivité.


  • Length: 15:23 minutes (14.08 Mo)
  • Format: MP3 Stereo 44kHz 128Kbps (CBR)

Reposted from02myhumsci-01 02myhumsci-01

November 23 2011


Händel's Ode for the Saint Cecilia's Day, 1739
- poetry: John Dryden - Song for the Saint Cecilia's Day 1687

Overture, recitativo accompagnato & chorus

From harmony, from Heav’nly harmony
          This universal frame began.
     When Nature underneath a heap
          Of jarring atoms lay,
     And could not heave her head,
The tuneful voice was heard from high,
          Arise ye more than dead.
Then cold, and hot, and moist, and dry,
     In order to their stations leap,
          And music’s pow’r obey.
From harmony, from Heav’nly harmony
          This universal frame began:
          From harmony to harmony
Through all the compass of the notes it ran,
     The diapason closing full in man.


whole poem with detailed explanations: DRYDEN AND HANDEL

Youtube Playlist (~1h 30 min, not embeddable) with excerpts, readings and short commentaries

- Henry Purcell: Hail, bright Cecilia (text based on Dryden)
- G.F. Händel: Ode for the Saint Cecilia's Day (text by Dryden)
- Joseph Haydn: Missa Cellensis (Cäcilienmesse)

SAINT CECILIA - 1618 - DOMENICHINO (1581-1641)

Saint cecilia

St. Cecilia's Day - 22nd of November
- Catholic Encyclopedia
- Wikipedia
Reposted bysiriusminerva siriusminerva

November 14 2011

Alessandro Scarlatti (1660-1725) & Francesco Durante (1684-1755)

2 Concerti (F. Durante) and 1 Motet (A. Scarlatti - Lauda Jerusalem - Psalm 147 [paraphrase])
youtube playlist (~30 min)

November 09 2011

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Joseph Haydn: Fantasie C-dur Hob. XVII, 4 (1789) - ( 5:30 min)
piano: Balázs Szokolay

Hochgeladen von szokolaybalazs am 14.08.2009

piano score / Klarviernoten (pdf), here.

September 22 2011

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Where shall I seek.. Acis&Galatea Händel. David Hernandez

yt - permalink
yt account: davidoski001

David Hernandez, tenor
Dario Moreno, dir.
British Baroque Orchestra



Where shall I seek the charming fair?
Direct the way, kind genius of the mountains!
O tell me, if you saw my dear!
Seeks she the grove, or bathes in crystal fountains?
Where. . . da capo


Händel scores to download

complete libretto


A recording from 1959 of 'Acis and Galatea' is bundled with this video via tag, here.

(this aria besides 2 others is missing in the historical recording from 1959 - LP length optimum was about 70 min)

September 17 2011


Georg Friedrich Händel

(c. 1718)

A Serenata; or Pastoral Entertainment

Words by John Gay, Alexander Pope and John Hughes

Galatea (soprano)

Acis (tenor)

Damon (tenor)

Polyphemus (bass)

Chorus of Shepherds and Shepherdesses


Händel scores to download

complete libretto


Performer:  Dame Joan SutherlandOwen BranniganPeter PearsDavid Galliver
Conductor:  Sir Adrian Boult
Orchestra/Ensemble:  St. Anthony SingersPhilomusica of London -  1959

about this recording

August 13 2011

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Wolfgang Amadeus Mozart - " 6 Notturni " | 1786 

yt-account: Phebus74

The six Notturni, were published in 1803 under the name of Gottfried von Jacquin, a friend of Mozart’s. It was not until 1933 that they were restored to their rightful composer!

-"Due pupille amabili" KV 439 (?Pietro Metastasio)
-"Se lontan,ben mio,tu sei" KV 438 (Pietro Metastasio)
-"Ecco quel fiero istante" KV 436 (Pietro Metastasio)
-"Mi lagnerò tacendo" KV 437 (Pietro Metastasio)
-"Luci care,luci belle" KV 346/439a (Pietro Metastasio)
-"Più non si trovano" KV 549 (Pietro Metastasio)
Elly Ameling,soprano
Elisabeth Cooymans,soprano
Peter Van der Bilt,baritono

Dipinto di Ludovico Carracci

Links to scores to download and to the original Italian texts with translations in several languages you will find via

June 19 2011

June 11 2011

Rätsel zum Wochenende

Da die naturwissenschaftlichen Rätsel immer schnell gelöst wurden, diesmal etwas aus einem anderen Bereich. Wir suchen einen Kunstgegenstand und seinen Standort.

Dem Sieger winkt wie immer ewiger Ruhm und als besondere Anerkennung ein Schälchen frischer Sprossen.


// oAnth

Google Suche: Türkenmadonnen

2 pdfs zu Türkenmadonnen:

a) Das religiös geprägte Türkenbild

b) Feindbild Islam – Feindbild Christentum

die hier gemeinte Madonna (Bild)

Ein versteckte Tücke bei dem Rätsel ist der verschlüsselnde Umgang mit dem Homonymen-Paar - "ahr" und "aar"


zu 'ahr' -

zu 'aar'

Und zu guter letzt das ganz besondere Zitat für Leute mit Sendungsbewusstsein, die sich der charismatischen Neigung zur großen geschichtlichen Aufgabe gewachsen fühlen.

Türkenmadonnen im Kreise Ahrweiler [~1958]

"... So bildet das Kunstwerk von Ahrweiler inhaltlich, trotz vieler Übereinstimmungen mit den vorbeschriebenen, eine interessante Variante unseres Themas. Knüpfen wir zum Schlüsse dieser Studie an die Gedanken an, die wir eingangs zum Ausdruck brachten: Es ist nicht mehr der Islam, der das christliche Abendland bedroht: diesmal kommt die Gefahr aus dem von kommunistischmaterialistischen Ideologen durchsetzten Nahen und Fernen Osten. Sie wird nur dann unabwendbar sein, wenn das Abendland nicht mehr die innere Kraft aufzubringen vermag, ihr zu begegnen. Letztlich wird der Untergang des Abendlandes nicht durch militärische Pakte und Rüstungen gebannt, sondern durch Besinnung auf die Macht christlichen Glaubens und Betens, wie sie einst in den Kunstwerken, die hier vorgestellt wurden, so eindringlich und mitreißend Gestalt annahm."
Reposted fromsofiasinports sofiasinports

May 25 2011

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Georg Friedrich Händel: Agrippina - Aria: Ogni Vento

Youtube permalink
yt-account: elias12186

George Frederick Handel (Composer),
Jeanne Lamon (Conductor),
Tafelmusik Baroque Orchestra (Orchestra),
Karina Gauvin (Performer)


libretto via

Atto Secondo


Ogni vento ch’al porto lo spinga,
benché fiero minacci tempeste,
l’ampie vele gli spande il nocchier.
Regni il figlio, mia sola lusinga,
sian le stelle in aspetto funeste,
senza pena le guarda il pensier.


Für jeden Wind, der ihn in den Hafen bringt,
auch wenn wilde Stürme drohen,
setzt der Seemann volle Segel.
Dass der Sohn herrsche, ist mein einziger Wunsch.
Mögen die Sterne auch dunkel sein,
der Geist betrachtet sie doch ohne Sorge.


Google translation in EN

Wherefore the harbor every wind push it,
although fierce storms threaten,
the wide spreads the pilot's wings.
Kingdoms son, my only lure,
are the stars look dire,
worth the watch without thinking
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