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Finally, something banging and more for movement than the mind. Special tribute to Rony SeikalyFull Tracklist:Billie Eilish - Ilomilo (Henry Saiz)Black Circle - Reasons (feat. Bobbi Fallon)Damaui - Something RealGorje Hewek - Ghosts (Extended)Rony Seikaly - Just Wanna Feel GoodRony Seikaly - MilaRony Seikaly - Flying CirclesEnzo Siffredi & BAQABO -…
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One sip at a time, an emotional ride with mood swings in all directions. Enjoy. Full Tracklist:Intro and all intermission edits & mixing - Levente MJ Cole & Freya Ridings - Waking UpLondon Grammar - Lord it’s a FeelingLabrinth - The Feelssorry idk - Beach HouseCannons - GoodbyeBilg Pilg - Oh NoThom York - Black SwanDelirium - WisdomFlowers and Sea …
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Slow, melancholy beginning but picks up into a hip-swinging sensual prowess. Enjoy. Levente End of Year (EoY) 2023 Track ListIntro - Levente (Keleti pályaudvar, Dankó Rádió, stb.)The Weekend - Stargirl Interlude feat. Lana del Rey (Edited by Levente)Rivière Monk - Voyage (Overdubbed partially by “Öregedő Szerelmes Vers” by Wass Albert) - A poem abo…
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The final movement culminates in a resolution. The music, also reused in the First Symphony (in the Scherzo “Funeral March in Callot’s manner”), is subdued and gentle, lyrical and often reminiscent of a chorale in its harmonies. Its title, “Die zwei blauen Augen von meinem Schatz” (“The Two Blue Eyes of my Beloved”), deals with how the image of tho…
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The final song, “Selbstgefühl” (My mood), starts with a dynamic of forte. To maintain a high level of playfulness, the tubist must observe the strict dynamic indications. Mahler indicated that the octave in the left hand of the piano part can be omitted throughout the song if the additional low notes create too thick of a texture in this register. …
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Balancing the soft low texture with piano remains one of the main challenges for tubists in the penultimate song in this collection, “Nicht wiedersehen!” (Never to meet again). It is scored very low on the piano and would be easy to lose the melody inside of the harmony of the accompaniment. Mahler instructs the pianist to use the pedals freely, ho…
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Das Lied von der Erde (The Song of the Earth) is a composition for two voices and orchestra by Gustav Mahler (1860-1911). Composed between Year 1908 and Year 1909 following the most painful period in Mahler’s life (Year 1907). The songs address themes such as Living, Parting and Salvation. Mahler had already included movements for voice and orchest…
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The first movement continually returns to the refrain, Dunkel ist das Leben, ist der Tod (literally, 'Dark is life, is death'), which is pitched a semitone higher on each successive appearance. Like many drinking poems by Li Bai, the original poem 'Bei Ge Xing' (a pathetic song) mixes drunken exaltation with a deep sadness. The singer's part is not…
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The third movement is the most obviously pentatonic and faux-Asian. The form is ternary, the third part being a greatly abbreviated revision of the first. It is also the shortest of the six movements, and can be considered a first scherzo. First this movement was called ‘Der Pavillon aus Porzellan’ (‘The pavilion made of porcelain’). --- A listenin…
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The music of this movement is mostly soft and legato, meditating on the image of some 'young girls picking lotus flowers at the riverbank'. Later in the movement there is a louder, more articulated section in the brass as the young men ride by on their horses. There is a long orchestral postlude to the sung passage, as the most beautiful of the you…
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The second scherzo of the work is provided by the fifth movement. Like the first, it opens with a horn theme. In this movement Mahler uses an extensive variety of key signatures, which can change as often as every few measures. The middle section features a solo violin and solo flute, which represent the bird the singer describes. --- A listening g…
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The final movement is nearly as long as the previous five movements combined. Its text is drawn from two different poems, both involving the theme of leave-taking. Mahler himself added the last lines. This final song is also notable for its text-painting, using a mandolin to represent the singer’s lute, imitating bird calls with woodwinds, and repe…
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“Scheiden und Meiden” (Partings) explores the metric juxtaposition of two versus three used in “Ablösung im Sommer.” “Trumpetlike” is the first expression in the music as F major arpeggios rise from the tuba and piano. Despite the repeated ascending passages, the first dynamic is piano so the tubist should strive to be precise to start with soft dy…
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