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Posted on 06/29/2012 5:59:14 PM PDT by AZamericonnie
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*HUG*
Good evening/morning, Ma!
It is my honor and pleasure to do this for our AWESOME Troops and Vets!
Keane - “Somewhere Only We Know”
http://www.youtube.com/watch?v=oCBSd39e0qo&;
Performed live on the Great Wall Of China, courtesy of Burberry Accoustic.
Sent from my iPad
Thank you so much for posting that to me!
I am a little nervous, but I have to do SOMETHING!
As you know this kind of pain is excruciating.
Thanks again for sharing that with me.
I am hopeful it will do the trick!
Thank you, Kathy! Hugs back at ya!
Relax...who me? I think I could sleep now about 12 hours. LOL!
Hee Hee!
Lobsters are currently $5.69 a lb.
Yom!
Clarinet Sonata in E-flat Major, Op. 120/2, first movement
The second movement is a waltz in E-flat minor, and it’s quite different from the first movement. The middle section slows it down with block chords on the piano while the clarinet sings around it.
The finale is in theme and variations format.
In November, Brahms visited Clara Schumann at a family gathering involving her surviving children and her grandchildren. Everyone remarked how Brahms just lit up the house with his conviviality.
Jo brought Richard Mühlfeld in from Meiningen, and he and Richard played the two clarinet sonatas and the Schumann Fantasy Piece for Clarinet and Piano with Clara acting as page turner. She loved the whole experience.
“Well, I’ve never had much in the way of cute”
You do too, so there!
*HUG*
*HUG*
Thank you so much!
(blush blush)
*HUG*
Hey there pretty lady!
Thank you so much for your prayers and encouragement!
Don’t you worry about me..
I am tough olde bat!
LOL
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Finding videos with English translations wasn’t easy, but I found some historic recordings from Ukranian basso Alexander Kipnis from 1936. This is how German lieder were sung in the bad old days under the influence of Wagner and the opera house. It’s not how they do it today, thanks to the hard work of Benjamin Britten and Peter Pears, two Englishmen who saved the art of lieder after World War II.
This song is a heartbreaker, and the turn to falsetto at 3:42 will bring out the handkerchiefs. The opening notes are from the beginning of the Fourth Symphony.
“O Death, How Bitter You Are”, Op. 121/3
Brahms ends the set on an optimistic note with a song from St. Paul.
”Though I Speak With the Tongues of Angels and Men”, Op. 121/4
In May 1896, Clara died at the age of 77. It was as though her death gave Brahms permission to die.
One would think that after all those years of chain smoking, Brahms would have contracted lung or throat cancer. Instead, it was just bad genes: Daddy Brahms had died of liver cancer, and now Jo developed it. It’s just as incurable today as it was then. Brahms chose to live with the fiction that it was merely a bad case of jaundice, and his friends let him get away with it.
In March 1897, Hans Richter conducted the Fourth Symphony, and Brahms was in the balcony for what would be his last public appearance. His face was greenish brown from jaundice, and everyone in the audience knew this was his valediction. The applause and cheers ran on and on.
A month later Johannes Brahms was dead.
He had looked at the trend in German politics, particularly the antisemitism, and he knew where it would lead. He also sensed which way music was trending, and he knew where that would lead. He was probably pleased to miss the future.
His greatest fear was that he would be remembered like Cherubini: a composer whose perspiration was visible, but not his inspiration. He would be delighted to know that his stringent self-censorship made sure that only the best of his work survives, and it has all found a place in the repertory. It was a life well spent.
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