拾乐园 Paradise Found  

#81  Re: Youtube 好听的经典小曲子集锦             Go Back
《圣塞西莉亚节颂歌》很好听。你家千金音乐方面知道的不少,查了手边的两本书,从形状和声音上判断,最接近长号。


云天 wrote: (12/29/2012 22:15)
的确很精彩。 “离天堂就只有半步了” ?

我让大女儿听24分半后那个乐器,她说 looks like a trombone, and she told me, "trombone is bass clef instrument, while trumpet plays treble clef."
她音乐知识有限,仅供参考。

唱词有待考证。



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自得其乐
        

#82  Youtube 好听的经典小曲子集锦             Go Back
        

#83  Youtube 好听的经典小曲子集锦             Go Back


这个指挥比较夸张。

        

#84  Re: Youtube 好听的经典小曲子集锦             Go Back
回站长,我大女儿MIDDLE SCHOOL 时在BAND 吹过小号。 高中时学吹长笛(她体质稍弱,嫌小号太重)。

和指挥的美曲精彩,明年再考证。不WIKI, 不知在听什么。

Happy New Year to you all!
        

#85  Re: Youtube 好听的经典小曲子集锦             Go Back

BBB wrote: (12/30/2012 21:39)
《圣塞西莉亚节颂歌》很好听。你家千金音乐方面知道的不少,查了手边的两本书,从形状和声音上判断,最接近长号。


前几天看到有网上评论提到:vented or un-vented trumpet,让我有点开窍了。顺着巴洛克小号搜索一下,答案就有了。

http://en.wikipedia.org/wiki/Baroque_trumpet
        

#86  Re: Youtube 好听的经典小曲子集锦             Go Back
这该是正确答案。乐队是使用本真乐器的古乐队。


和谈 wrote: (1/1/2013 6:57)

BBB wrote: (12/30/2012 21:39)
《圣塞西莉亚节颂歌》很好听。你家千金音乐方面知道的不少,查了手边的两本书,从形状和声音上判断,最接近长号。


前几天看到有网上评论提到:vented or un-vented trumpet,让我有点开窍了。顺着巴洛克小号搜索一下,答案就有了。

http://en.wikipedia.org/wiki/Baroque_trumpet

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自得其乐
        

#87  Re: Youtube 好听的经典小曲子集锦             Go Back
wow, 和指挥很有钻研精神。 PF.
        

#88  Re: Youtube 好听的经典小曲子集锦             Go Back
好像是第一次听这个。感觉深不可测。西方古典音乐,在表现心灵的深度和宇宙的深邃与奥秘上,比之其它地区文化,不知要高出多少。

谢谢分享。




BBB wrote: (11/10/2012 16:5)
Weber-Der Freischütz Overture-Kleiber (1970)
威伯歌剧《自由射手》序曲

        

#89  Re: Youtube 好听的经典小曲子集锦             Go Back
余兄周末好。 余兄可否写过乐感乐评?


lyz23 wrote: (1/7/2013 13:9)
好像是第一次听这个。感觉深不可测。西方古典音乐,在表现心灵的深度和宇宙的深邃与奥秘上,比之其它地区文化,不知要高出多少。

谢谢分享。





        

#90  Re: Youtube 好听的经典小曲子集锦             Go Back

和谈 wrote: (12/29/2012 15:18)


注意从12.25分钟开始的大提琴,从14.40分开始的女声,一直到21分20秒这一段结束。我不知道这唱词,退而求其次,这音乐本身也够了。

亨德尔在巴洛克作曲家里面,他的作品思想内容,如果说有这个东西的话,要比其他的深,比如维瓦尔第。

从24分半之后加进来一个吹奏乐器, 我不知道这个是叫小号还是长号了。它既没有键,也没有栓,象军队里的冲锋号,完全靠气流的强弱来控制?卖糕的!

这个曲子完全都是由精彩的段子组成,可以一遍一遍听。

这里面最出彩的我觉得是从38分半开始的那段,你如果喜欢的话,那么里天堂就只有半步了!

这个指挥的动作不夸张但是有变化,平和而且到位,快一个小时,没有让人单调罗嗦的感觉。



考证《圣塞西莉亚节颂歌》:

1.St. Cecilia



http://en.wikipedia.org/wiki/Saint_Cecilia:

聖則濟利亞(拉丁語:Sancta Caecilia)是基督公教、聖公會、基督正教和東儀公教會的聖人,被視為音樂家和基督教聖樂的主保聖人。她的慶日在11月22日。

Saint Cecilia (Latin: Sancta Caecilia) is the patroness of musicians[2] and Church music because, as she was dying, she sang to God. It is also written that as the musicians played at her wedding she "sang in her heart to the Lord".[2] St. Cecilia was an only child. Her feast day is celebrated in the Roman Catholic, Anglican, Eastern Orthodox, and Eastern Catholic Churches on November 22. She is one of seven women, excluding the Blessed Virgin, commemorated by name in the Canon of the Mass. It was long supposed that she was a noble lady of Rome who, with her husband Valerian, his brother Tiburtius, and a Roman soldier Maximus, suffered martyrdom in about 230, under the Emperor Alexander Severus.[3]

2.Ode for St. Cecilia's Day by Handel
http://en.wikipedia.org/wiki/Ode_for_St._Cecilia%27s_Day_(Handel)

Ode for St. Cecilia's Day (HWV 76) is a cantata composed by George Frideric Handel in 1739, his second setting of the poem by the English poet John Dryden. The title of the oratorio refers to Saint Cecilia, the patron saint of musicians. The main theme of the text is the Pythagorean theory of harmonia mundi, that music was a central force in the Earth's creation. The premiere was on 22 November 1739 at the Theatre in Lincoln's Inn Fields, London.

。。。。。
(我个人最喜欢的唱段:)
The Trumpet's Loud Clangour
TENOR: The trumpet's loud clangour excites us to arms,
With shrill notes of anger and mortal alarms,
The double-double-double beat,
Of the thund'ring drum,
Cries hark! Hark! Cries hark the foes come!
Charge! Charge! Charge! Charge!
'Tis too late, 'tis too late to retreat!

。。。。。。。。



3. Song For Saint Cecilia's Day by John Dryden (诗作者)



(朗诵的效果同亨德尔的康塔塔显然不可比。)

1

From harmony,[1] from heavenly harmony
This universal frame[2] began.
When Nature underneath a heap
Of jarring atoms lay,
And could not heave her head, 5
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 power obey. 10
From harmony, from heavenly harmony
This universal frame began;
From harmony to harmony
Through all the compass of the notes it ran,
The diapason closing full in Man.[3] 15


2

What passion cannot Music raise and quell?
When Jubal[4] struck the corded shell,[5]
His list'ning brethren stood around,
And, wond'ring, on their faces fell
To worship that celestial sound, 20
Less than a god they thought there could not dwell
Within the hollow of that shell
That spoke so sweetly and so well.
What passion cannot Music raise and quell?


3

The trumpet's loud clangor 25
Excites us to arms,
With shrill notes of anger
And mortal alarms.[6]
The double double double beat
Of the thundering drum 30
Cries, "Hark, the foes come!
Charge, charge, 't is too late to retreat!"


4

The soft complaining flute
In dying notes discovers[7]
The woes of hopeless lovers, 35
Whose dirge is whispered by the warbling lute.


5

Sharp violins proclaim
Their jealous pangs and desperation,
Fury, frantic indignation,
Depth of pains and height of passion, 40
For the fair disdainful dame.


6

But oh! what art can teach,
What human voice can reach
The sacred organ's praise?
Notes inspiring holy love, 45
Notes that wing their heavenly ways
To mend[8] the choirs above.


7

Orpheus[9] could lead the savage race,
And trees unrooted left their place,
Sequacious of the lyre; 50
But bright Cecilia raised the wonder higher:
When to her organ vocal breath was given,
An angel heard, and straight[10] appeared--
Mistaking earth for heaven.


GRAND CHORUS

As from the power of sacred lays 55
The spheres began to move,
And sung the great Creator's praise
To all the blest above:
So, when the last and dreadful hour[11]
This crumbling pageant shall devour, 60
The trumpet shall be heard on high,
The dead shall live, the living die,
And Music shall untune the sky.

NOTE.--Dryden wrote this song in 1687 for the festival of St. Cecilia,
the patron saint of music. To be appreciated it must be read aloud,
for it is full of musical effects, especially stanzas 3-6. St. Cecilia
has been represented by Raphael and other artists as playing upon some
instrument, surrounded by listening angels.


[1.] From harmony, etc. Some of the ancients believed that music
helped in the creation of the heavenly bodies, and that their motions
were accompanied by a harmony known as "the music of the spheres."

[2.] This universal frame, the visible universe.

[3.] The diapason, etc. The diapason means here the entire compass
of tones. The idea is that in man, the highest of God's creatures,
are included all the virtues and powers of the lower creation.

[4.] Jubal. It is said of Jubal: "He was the father of all such as
handle the harp and organ."--Genesis iv, 21.

[5.] The corded shell, i.e. the lyre. The first lyre was supposed to
have been formed by drawing strings over a tortoise shell.

[6.] Mortal alarms, i.e. notes that rouse men to deadly conflict.

[7.] Discovers, reveals.

[8.] Mend, amend, improve.

[9.] Orpheus is said to have been a Thracian poet who moved rocks and
trees and tamed wild beasts by playing upon his lyre.

[10.] Straight, straightway, immediately.

[11.] The last and dreadful hour, the Day of Judgment.


4. Ode to St. Cecilia (Purcell)
(普赛尔也作曲歌颂,一并贴在此。)



http://en.wikipedia.org/wiki/Ode_to_St._Cecilia_(Purcell)

Ode to St. Cecilia (Purcell)

Hail! Bright Cecilia (Z.328), also known as Ode to St. Cecilia, was composed to a text by the Irishman Nicholas Brady by Henry Purcell in 1692 in honour of the feast day of Saint Cecilia, patron saint of musicians. Annual celebrations of this saint's feast day (November 22) began in 1683, organized by the Musical Society of London, a group of musicians and music lovers. Purcell had already written Cecilian pieces in previous years, but this Ode remains the best known. The first performance was a great success, and received an encore.[1]

Brady's poem was derived from John Dryden's A Song for St Cecilia's Day in 1687, which suggested that Cecilia invented the organ. With a text full of references to musical instruments, the work requires a wide variety of vocal soloists and obbligato instruments. [2] Brady extols the birth and personality of musical instruments and voices, and Purcell treats these personalities as if they were dramatic characters. The airs employ a variety of dance forms. [3] "Hark, each Tree" is a sarabande on a ground. [4] It is a duet on a ground-bass between, vocally, soprano and bass, and instrumentally, between recorders and violins ("box and fir" are the woods used in the making of these instruments). "With That Sublime Celestial Lay" and "Wond'rous Machine" are in praise of the organ. [5] "Thou tun'st this World" is set as a minuet. "In vain the am'rous Flute" is set to a passacaglia bass. [6] In spite of Brady's conceit of the speaking forest (It should be remembered that English organs of the period typically had wooden pipes), Purcell scored the warlike music for two brass trumpets and copper kettle drums instead of fife and (field) drum. The orchestra also includes two recorders (called flutes) with a bass flute, two oboes (called hautboys), strings and basso continuo.

Purcell is one of several composers who have written music in honour of Cecilia.
        

#91  Re: Youtube 好听的经典小曲子集锦             Go Back
http://www.lipscomb.edu/windbandhistory/RhodesWindBand_03_Baroque.htm

Baroque Trumpet

For centuries, the trumpet was considered an instrument exclusive to the court, specifically the property of the ruler of highest rank who was usually the king. During the Baroque era the art of trumpet playing evolved to a high level of technical virtuosity achieved by a select group of players who maintained their exclusivity through guild membership. As early as 1623 an Imperial Guild of Court and Field Trumpeters and Court and Army Kettledrummers was formed in the Holy Roman Empire for the purpose of regulating instruction. This limited the number of performers, as well as placing restrictions on locations of performance and on who was allowed to perform. The Elector of Saxony was named as patron of the guild. While other countries outside the empire did not necessarily maintain comparable guilds as such, trumpet playing enjoyed similar status throughout Europe.6

Use of Mutes

Trumpet players are accustomed to playing with a variety of mutes as designated in their music, whether it be symphonic, jazz, or solo literature. But perhaps the earliest designation for muted playing comes from a 17th-century military order. The signal la sourdine was an order to march "with little noise". The directive for such practice was explained thus:

...the mute is used when there is a risk of being discovered by the enemy or when it is wished to surprise them, as also when it is desired to decamp or secretly withdraw... 1
To enforce the privileges for the newly formed guild, Holy Roman Emperor Ferdinand II decreed in the same year:

No honourable trumpeter or timpanist shall allow himself to be employed with his instrument in any way other than for religious services, Emperors, Kings, electors and Princes, Counts, Lords and Knights and nobility, or other persons of high quality: It shall also be forbidden altogether to use a trumpet or a timpani at despicable occasions; likewise the excessive nocturnal improper carousing in the streets and alleys, in wine and beer houses. He who transgresses in this way shall be punished.7

No less was to be expected from a class of musicians who not only wore the feather of nobility in their caps, but were also provided with horses and personal servants. Trumpeters were expected to travel with their lords so as to provide fanfares whenever the lord entered a town or castle. They also relayed messages in times of war and political crisis as well as participating in political intrigues.8 In Germany as well as France trumpeters were required in the military, especially in the mounted cavalry. Trumpets led the way in military parades, but during battle they were positioned at the rear of the battle alongside the commander, ready to communicate the various orders of movement such as the standard calls to the saddle and the charge, which were required to maintain order and timing.

Trumpet masters, jealous to keep their high standing, maintained a veil of secrecy over their guild by playing from memory and by teaching new guild members by rote. They were especially secretive about techniques such as flutter tonguing, double and triple tonguing, trilling, and high tessitura playing, as well as instrument construction such as mouthpiece design and tubing for pitch changes.9

Trumpets were also active in other forms of music that did not necessarily involve the nobility directly. During the Baroque several forms of entertainment emerged in which war imitated art, and vice versa. One example is the concept of "battle choreography" as described in Möller's Trilekunst zu fuss (Infantry Drill) published in 1672. Here the author provides minute instructions for placing foot soldiers in a pattern representing the arms of the imperial city of Lübeck. Another example was the tournament, where competition was staged with music and the proceedings took on a sense of theater with allegorical tones. Rifles had now become the common elements of war, rendering the weaponry and conflict that the tournament represented obsolete. Nevertheless, tournaments remained a popular activity--and the trumpet, being the musical signature of the nobility, was an integral part of this pastime.

In time, tournaments gave way to military or equestrian ballets. In Italy, early examples even incorporated elements of opera. Ferdinand III introduced the practice in Austria where the Spanish school of riding can still be enjoyed today in the performances of the Lippizaner stallions. In France, Louis XIV was also fond of these horse ballets, known as Caroussels. Since most trumpet music was improvised, few examples survive from these engagements.
On occasion, composers also wrote less programmatic music for the trumpet. Some specific examples include Praetorius's setting in 1618 of In dulci jubilo (Polyhymnia panegyrica et caduceatrix no. 34) using a six-part ensemble in a chorale style. Franz Biber wrote two sonatas for six- and eight-part trumpet ensembles with kettledrums and continuo. Also worthy of mention is Michel Corrette's Divertissement Op. 7 for two trumpets.


As technical prowess improved, composers wrote music incorporating high tessitura or clarino playing in their trumpet parts. The design of Baroque mouthpieces facilitated this style of playing with a rim that was flatter and wider, allowing for greater endurance. It also had a pronounced edge between the cup and the throat that allowed for (1) bending the pitch on out-of-tune notes, as well as (2) lending a certain brilliance to the tone. Earlier in the Baroque, players were reaching the 16th partial with regularity, eventually reaching into the fourth or fifth octave late in the Classical period, as heard in the concertos of Michael Haydn, Reutter, F. X. Richter, and Joseph Riepel. Bach featured the skill of the celebrated player Gottfreid Reiche (senior Stadtpfeifer in Leipzig until his death in 1734) in many of his works, though the second Brandenburg Concerto preceded their acquaintance, and the Christmas Oratorio was performed by his successor.10

As the Baroque era declined, musical taste dictated a style different from the brilliant virtuosity demanded from trumpet players. Also, royal wealth and status declined, thanks in part to the French Revolution, making the financial status of the trumpet guild increasingly shaky. The guild was dissolved in Berlin by 1810, and the guild in Saxony, after some 200 years of existence, followed suit in 1831.
        

#92  Re: Youtube 好听的经典小曲子集锦             Go Back
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"After silence, that which comes nearest to expressing the inexpressible is music."
        

#93  Re: Youtube 好听的经典小曲子集锦             Go Back
想找到歌剧《西西里晚祷》中的《四季》芭蕾场景的视频,还真没有。不过这个迈阿密的佛罗里达芭蕾舞团演出的也还不错:




chenji wrote: (1/21/2013 22:22)


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自得其乐
        

#94  Re: Youtube 好听的经典小曲子集锦             Go Back

BBB wrote: (1/22/2013 20:8)
想找到歌剧《西西里晚祷》中的《四季》芭蕾场景的视频,还真没有。不过这个迈阿密的佛罗里达芭蕾舞团演出的也还不错:







Pretty good. Thanks.

A fun piece for the ears of bird lovers:
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"After silence, that which comes nearest to expressing the inexpressible is music."
        

#95  Re: Youtube 好听的经典小曲子集锦             Go Back
刚检查完大女儿的化学作业。不敢熬夜,又有些忙,得空再慢慢回帖。 各位周末好。




        

#96  Re: Youtube 好听的经典小曲子集锦             Go Back
2013-1797= 216. Happy 216th birthday to Schubert!




zt:

http://atthelighthouse.wordpress.com/2013/01/31/im-dorfe-happy-birthday-schubert/

Im Dorfe. Happy Birthday, Schubert.
It is so fitting, isn’t it, that Schubert should have been born in January? As I’ve mentioned before I love Schubert’s music dearly all year round, but it seems to me especially appropriate for the month of January, and I have, in fact, set up a rule for myself that under no circumstances am I allowed to listen to Winterreise earlier than January 1. That way I have something to look forward to about this the bleakest, coldest month of the year.

Oh, Schubert. It really does make me so weepy every time I think about his much too early death, even more so than with Mozart. The Grim Reeper cheated us out on a lot of undoubtedly great music from both gentlemen, certainly, but at least Mozart got to have a wife and kids. What did Schubert get? Syphilis, that’s what. Or at least something similarly nasty and painful and isolating. To have lived through such misery and then to have maintained the ability to communicate feelings so well through his music, to have insisted on remaining so warm and human deep inside that coldness … It breaks the heart.

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"After silence, that which comes nearest to expressing the inexpressible is music."
        

#97  Re: Youtube 好听的经典小曲子集锦             Go Back
舒伯特的生日,这几年,每年都有人记起。
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自得其乐
        

#98  Re: Youtube 好听的经典小曲子集锦             Go Back
莫扎特19岁作的这部如今少有上演的歌剧《牧人王》中,有这么优美感伤动听的咏叹调:

Mozart: Il Re Pastore K. 208 - "L'amero, saro constante" (Lucia Popp)
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自得其乐
        

#99  Re: Youtube 好听的经典小曲子集锦             Go Back
《扎伊德》是莫扎特死后发现的他的作品,写了两幕,没有序曲,也没有名字,与他的第一部成为经典的歌剧《后宫的诱逃》的剧情背景基本一样。其中第一幕的咏叹调《安静地睡吧,我心爱的人》,可以和莫扎特的任何段落媲美。

油管上的这个演唱,我已经听了无数次,比油管上任何其它演唱都棒。德国女高音,演唱莫扎特歌剧的新秀,Mojca Erdmann。

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自得其乐
        

#100  Youtube 好听的经典小曲子集锦             Go Back
真的又新又秀。
        

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