Recent Event Highlights: Forgotten Hope 2 - Basic Training: Weapon Familiarisation and Infantry Training, JFK Inaugural Address 1/2 (Discurso Inaugural de JFK), Scelsi - Piano Sonata No. 3 : I Lento, rubato, Ralph Vaughan Williams - Piano Concerto - III. Fuga Chromatica con Finale alla Tedesca (2/2), Ralph Vaughan Williams - Piano Concerto - III. Fuga Chromatica con Finale alla Tedesca (1/2), Ralph Vaughan Williams - Piano Concerto - I. Toccata, and 5 more...
Created by dipity on Feb 19, 2010
Last updated: 01/20/11 at 06:00 AM
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First part of the Forgotten Hope 2 Basic Training by mcgibs, voiced by Major and custom animations by Killi Vanilli. www.fhmod.org
EN:::President John Kennedy's inaugural address. ----You may activate the subtitles by clicking on the white-triangle-on-a-black-back ground button on the bottom right of the video player and selecting the language of your choice. PT:::Discurso de posse do Presidente John Kennedy. ----Para ativar as legendas, clique no botão que é um triangulo branco sobre um fundo preto, na direita do rodapé dos vídeos, e selecione a língua que lhe aprouver. Original video: www.youtube.com
Piano Sonata No. 3 (1939) Giacinto Scelsi (1905-1988) was an extraordinary Italian composer whose important place in music history is not yet widely acknowledged. In his youth, he was one of the few Italian disciples of Schoenberg and an enthusiast of contemporary music. His early works from the 1930s/40s reveal a plethora of 20th-century aesthetics from dodecaphony, futurism, neo-classicism, to a kind of mysticism comparable to late-period Scriabin. From 1950 on, Scelsi explored Eastern, especially Tibetan, pantheism and theosophy, which greatly influenced his music. In some of his later works such as the Four Pieces for Orchestra (1961), he often focuses on reiterating single pitches while varying the rhythm, attack, timbre, and microtonal inflections. In other later works (String Quartet No. 4), his music is static and characterized by glissandi, trills, and microtonal harmonies. Much of his music was not composed on paper but improvised; it was left to assistants under his direction to transcribe the recordings and realize them as orchestral scores.
Four Preludes (1918-19) Prelude Op. 2 "Lento" (1918) Prelude Op. 3 No. 1 (1918) 2:30 Prelude Op. 3 No. 2 (1918) 3:40 Prelude woo (1919) 4:08 The son of Alexander Scriabin, Julian (1908-1919) was a child prodigy and showed remarkable promise as a composer. His four preludes written when he was just 11 indicate his father's influence, particularly the transition phase from the middle to late period (Op. 50s). Some scholars doubt these complex preludes are written by Julian, but are rather unpublished works his father probably composed in 1907. Despite the doubt surrounding their authorship, these four preludes are potent and mature miniatures, which, if truly composed by an 11 year old, must leave us in awe and wonder. Julian drowned in a boating accident and we can only imagine what this young composer might have created had he lived longer.
The author of this piece is the well knnown Mexican Composer of the Classical Period: Maestro Manuel Arenzana. "Te Deum" as a piece has 4 movements, the one played here, a Lento, Allegro and Vivo, and in those, we are referring to the tempo assigned to each movement in the trasncription for Philharmonic Band, because in the Original Mass of Maestro Arenzana all appear under the last section as: TE ERGO QUAESUMUS. In the trasncription for Philahrmonic Band we have a delightful Te Deum! The trombone engages in beautiful duets with the clarinet in some parts, with some octaves range difference from one another, evidence of the experiments made combining instruments, with amzing results. The arrogance of the trombone is humbled with piano notes, heard with magnificent resonance thanks to the acoustic of this church. El autor de éste Te Deum, es el renombrado Maestro del Clasisismo Mexicano Manuel Arenzana. "Te Deum" como pieza consta de 4 movimientos, éste que se presenta aquí, un lento, uno mas de corte Allegro y Vivo, obviamente nos referimos al tempo que se asignó a las piezas en su transcripción a viento, y no necesariamente al nombre de los movimientos en sí, pues en la Misa del Maestro Manuel Arenzana, éste y los tres movimientos finales aparecen en el último movimiento como: TE ERGO QUAESUMUS. En la trascripción para Banda Filarmónica tenemos un hermosísimo TE DEUM, el trombón se une al clarinete, formando alegres duetos en algunas secciones, con algunos octavos de diferencia entre ambos, prueba de los experimentos hechos en la combinacion de instrumentos, con sorprendentes resultados. La arrogancia del trmbón se doblega en notas piano que se escuchan con una resonancia impresionante gracias a la acústica del templo.