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February 01 2013

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Friedrich Wilhelm Schelling: Philosoph zwischen Idealismus und Romantik - YouTube

January 01 2013

in memoriam Mihaela Ursuleasa (* 27th September 1978 in Brașov/Kronstadt Romania / Rumänien; † 2nd August 2012 in Vienna/Wien, Austria/ Österreich,  romanian pianist / rumänische Pianistin


Franz Schubert 1797-1828  
Trout Quintett / Forellenquintett D. 667

Julian Rachlin,
Mischa Maisky,
Nobuko Imai,
Stacey Watton

Mihaela Ursuleasa

 more about and with her:

November 17 2012

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Published on 14 Nov 2012 by Wolfgang Amadé Mozart

Franz Liszt - 14 Schubert Lieder - YouTube

Oxana Yablonskaya, piano
Franz Liszt - 14 Schubert Lieder
Schubert - 12 Lieder, S558/R243: No. 2. Auf dem Wasser zu singen 00:04:59
Schubert - Winterreise, S561/R246: No. 6. Wasserflut 00:02:30
Schubert - Mullerlieder, S565/R249: No. 2. Der Muller under der Bach 00:07:10
Schubert - Schwanengesang, S560/R245: No. 8. Ihr Bild 00:02:34
Schubert - Schwanengesang, S560/R245: No. 7. Standchen (Leise flehen meine Lieder) 00:07:06
Schubert - 12 Lieder, S558/R243: No. 9. Standchen (Horch, horch! Der Lerch') 00:02:47
Schubert - 12 Lieder, S558/R243: No. 1. Sei mir gegrusset 00:06:06
Schubert - 6 Melodies, S563/R248: No. 4. Trockne Blumen 00:04:15
Schubert - 12 Lieder, S558/R243: No. 7: Fruhlingsglaube 00:05:00
Schubert - 12 Lieder, S558/R243: No. 3. Du bist die Ruh 00:06:08
Schubert - Schwanengesang, S560/R245: No. 12. Der Doppelganger 00:04:41
Schubert - 12 Lieder, S558/R243: No. 8: Gretchen am Spinnrade 00:04:28
Schubert - 12 Lieder, S558/R243: No. 11. Der Wanderer 00:07:16
Schubert - Schwanengesang, S560/R245: No. 3. Aufenthalt 00:03:51

January 11 2012

Novalis ou l'écriture romantique | Novalis: Le nom

Le nom d´un auteur dit parfois, secrètement, le site d´une pensée et d´une écriture. Novalis est le pseudonyme que s´est choisi Friedrich von Hardenberg (1772-1801) en un lieu et à un moment de sa vie bien précis, et dont l´apparition dans une lettre adressée à August Wilhelm Schlegel du 24 février 1798 nous avertit qu´un changement profond et crucial s´opère chez celui qui signe ainsi son premier recueil de fragments, Pollens (Blütenstaub), paru dans le premier numéro de la revue Athenäum: "Si vous aviez envie d´en faire un usage public, je vous prierais de signer Novalis - qui est un ancien nom de ma lignée et ne convient pas si mal".
En choisissant ce pseudonyme - qui est en effet aussi un patronyme, puisque le nom de novali remonte au douzième siècle -, Friedrich von Hardenberg signale à son ami qu´il s´installe dans un lieu, et, qu´étant donnée la situation, le nom d´auteur "ne convient pas si mal". Ce lieu est double, et nous disposons de deux cartes: l´une est géographique, et elle nous permet de situer Novalis à Freiberg, en Saxe, où il arrive en décembre 1797, presqu´en territoire étranger puisqu´il est originaire d´Oberwiederstedt, en Thüringe, où sa famille est installée . L´autre carte est fragmentaire, inachevée, c´est celle que dessinent les écrits, archipel de textes allant du roman au poème, des notes aux fragments, du journal à l´écrit épistolaire. Or il semble que la deuxième carte dessine un territoire de l´esprit qui n´eût pu être atteint si le déplacement géographique n´avait eu lieu. Car Freiberg n´est pas seulement le site où fut choisi le nom, mais le lieu d´une activité à travers laquelle le choix du nom prit et prend pour nous aujourd´hui encore tout son sens.

La terre de la pensée (Humus novale) est en friche, nous indique le nom, qui du même coup nous entraîne dans l´exploration d´une volonté, d´un effort: il y va d´un essartement, d´un défrichement, activité indispensable et préalable de l´esprit qui veut s´assurer d´un sol, et d´un sol qu´il soit possible d´ensemencer.





oAnth - original URL --


November 30 2011


October 01 2011


May 04 2011


April 05 2011

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Myra Hess plays Brahms Intermezzo opus 117 no. 1 (rec 1941)

YouTube - permalink
yt-account: pianopera

Johannes Brahms (1833-1897):

from Drei Intermezzi opus 117 (1892),
1. Andante moderato in E flat major.

Played by Myra Hess (recorded in 1941). She plays it with tenderness, expression, spirituality, purity and simplicity, but without eroticism, narcissism, mannerism or sentimentality.

"On a smaller and more intimate scale than the surrounding sets of Op. 116, Op. 118 and Op. 119, the composer described these pieces as "lullabies to my sorrows". Here we find Brahms at his most tender and introspective, with only one outburst (in the third Intermezzo) of the characteristic Brahmsian fieryness. The Intermezzi were inspired by a Scottish poem from Herder's Volkslieder, and bear this inscription:

Schlaf sanft mein Kind, schlaf sanft und Schön !
Mich dauert's sehr, dich weinen sehn.

(Sleep softly my child, sleep softly and well !
It hurts my heart to see you weeping.)"

Piano Society.

Painting by Berthe Morisot (1841-1895)

April 04 2011

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Brahms, Vier ernste Gesänge (1/2)
(Quatre chants sérieux-four serious songs) op. 121,

Hans Hotter & Gerald Moore Piano,
rec, 11 & 12-11 1951, London.

I: Denn es gehet dem menschen,
II: ich wandte mich um und sahe an alle,


Youtube permalink
yt-account: jacquesurlus

Vier ernste Gesänge - Four Serious Songs, for voice & piano - Johannes Brahms, op. 121 | Information from

On March 26, 1896, Brahms' lifelong friend and champion, Clara Schumann, suffered a stroke. Brahms, who considered Clara to be the "greatest wealth" in his life, was deeply shocked and forced to confront the fact that she might soon die. To cope, he immersed himself in work, completing the Vier ernste Gesänge (Four Serious Songs), Op. 121, by his birthday, May 7, 1896.

Brahms compiled the texts for the Vier ernste Gesänge from Martin Luther's translation of the Bible -- mostly passages from the apocryphon, Ecclesiastes. The four songs represent a progression of thought about, and reaction to, death, and by virtue of their subject hardly require the adjective, "serious." Appearing after a decade in which the composer wrote no original songs, these four songs are truly unique in Brahms' output: they show no trace of folksong influence, they are not in strophic form, and they occasionally adopt a harsh, dramatic quality that is quite beyond his other songs. Brahms refused to have them performed, suggesting that they were of great personal importance to him.

"Denn es gehet dem Menschen" (It is for a person [as it is for an animal]), from Ecclesiastes 3:19-22, focuses on the transience of life. The text notes that people, just like animals, must die. In D minor, Brahms' setting conveys this transience through changes in tempo, meter and texture. The song proceeds with a turning melody, never leaving D minor; a quiet shift to a 3/4 meter and Allegro tempo bring with it denser and more complex harmonies, climaxing with the appearance of a new texture and the question, "Who knows if the soul of a person rises upward?". "Ich wandte mich und sahe an alle" (I turned and looked upon everyone), sets Ecclesiastes 4:1-3. The opening notes, over a stumbling accompaniment, anticipate the beginning of the next song. This is the most recitative-like of the four songs.

The text for "O Tod, o Tod, wie bitter bist du" comes from Ecclesiastes 41:1-2; Brahms alters the opening text, "O Tod, wie bitter bist du" (O death, how bitter you are) to "O Tod, wie wohl tust du dem Dürftigen" (O death, how good you are to the poor) when it returns for the second time. A musical metamorphosis accompanies this textual one, reflecting a shift in attitude from the bleak to the reassuring. Death, although final, alleviates suffering. The fourth and final song, "Wenn ich mit Menschen- und mit Engelzungen redete" (If I speak with the tongues of humans of angels), is drawn from 1 Corinthians 13; it is both a paean to, and a eulogy for, love. ~ John Palmer, Rovi

May 18 2010

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Ferdinando Carulli - Andantino - Romantic Guitar
Another famous one, for beginners, lovely one... Original romantic guitar (1800) restored by Erik-Pierre Hofmann.
From: Luthval
Views: 15
1 ratings
Time: 02:46 More in Music

May 17 2010

Playlist on youtube of short wonderful romantic guitar pieces (mostly Italian and Spanish) from the yt-account Luthval - played by himself.

Several pieces are integrated via yt-feed in my tumblelog diary - I tagged them 'romantic guitar' - you find them here. | muc - oanth

May 16 2010

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Matteo Carcassi - Waltz opus 59 n°2 - Romantic Guitar
From Carcassi's method (third part, second piece) Original guitar (1800) restored by Erik-Pierre Hofmann.
From: Luthval
Views: 0
0 ratings
Time: 02:01 More in Music
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Mauro Giuliani - Tarentella - Romantic Guitar
Sicilian or Napolitan popular music. Original Romantic guitar (1800) restored by Erik-Pierre Hofmann.
From: Luthval
Views: 0
0 ratings
Time: 01:35 More in Music

May 14 2010

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Mauro Giuliani - Etude Opus 50 n°21 - Romantic Guitar
Another one from the Opus 50...
From: Luthval
Views: 56
5 ratings
Time: 01:06 More in Music

May 13 2010

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Niccolo Paganini - Andante - Romantic Guitar
Original romantic guitar restored by Erik-Pierre Hofmann.
From: Luthval
Views: 103
12 ratings
Time: 01:42 More in Music

May 11 2010

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Niccolo Paganini - Menuet - Romantic Guitar
Played on an original early romantic guitar (1800) restored by Erik-Pierre Hofmann.
From: Luthval
Views: 0
0 ratings
Time: 01:20 More in Music

May 06 2010

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Matteo Carcassi - Valse Opus 10 n°9 - Romantic Guitar
Original romantic guitar (1800) restored by Erik-Pierre Hofmann.
From: Luthval
Views: 0
0 ratings
Time: 02:29 More in Music

May 05 2010

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Mauro Giuliani - Valse opus 90 N°1 - Romantic guitar
Romantic guitar (1800) restored by Erik-Pierre Hofmann.
From: Luthval
Views: 79
5 ratings
Time: 01:09 More in Music

May 01 2010


Frühlingssehnsucht - Franz Schubert 1797-1828

Frühlingssehnsucht, Franz Schubert 1797-1828

Werner Güra, Tenor
Christoph Berner, Piano

yt permalink
yt account: Ablacsia

Text by Ludwig Rellstab (1799-1860)
Liedtext / song text with several translations EN, FR, ...

"Frühlingssehnsucht", D. 957 no. 3 (1828), from Schwanengesang, no. 3.

Säuselnde Lüfte wehend so mild
Blumiger Düfte atmend erfüllt!
Wie haucht ihr mich wonnig begrüßend an!
Wie habt ihr dem pochenden Herzen getan?
Es möchte euch folgen auf luftiger Bahn!

Bächlein, so munter rauschend zumal,
Wollen hinunter silbern ins Tal.
Die schwebende Welle, dort eilt sie dahin!
Tief spiegeln sich Fluren und Himmel darin.
Was ziehst du mich, sehnend verlangender Sinn,

Grüßender Sonne spielendes Gold,
Hoffende Wonne bringest du hold!
Wie labt mich dein selig begrüßendes Bild!
Es lächelt am tiefblauen Himmel so mild
Und hat mir das Auge mit Tränen gefüllt!

Grünend umkränzet Wälder und Höh'!
Schimmernd erglänzet Blütenschnee!
So dränget sich alles zum bräutlichen Licht;
Es schwellen die Keime, die Knospe bricht;
Sie haben gefunden, was ihnen gebricht:
Und du?

Rastloses Sehnen! Wünschendes Herz,
Immer nur Tränen, Klage und Schmerz?
Auch ich bin mir schwellender Triebe bewußt!
Wer stillet mir endlich die drängende Lust?
Nur du befreist den Lenz in der Brust,
Nur du!
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