класиииика

Klassik

I adore classical music as much as I do Jazz. One of my favorite ways to relax is taking a nap or just laying in bed with classical music playing in the background but it has to be a very low volume because that helps me tune out the rest of the world. That way I have to pay attention to only the music as if I was seeking it's original source in order to connect with it, and fall asleep or daydream and become more peaceful and a little less lonely... And if I were stuck on an island and there was only one music genre I could listen to for the rest of my life, I would be stuck between Classical and Jazz :) 

While I do love Ravel, Debussy, Satie, Mozart, Camille Saint-Saens, Pierne, and Bach to death, you will not hear Vivaldi in this playlist because I just don't like his music. I much prefer turn of the century classical, Gregorian Chants, Baroque, Medieval, movie soundtracks, and Opera--lots and lots of sweet Opera because I am head over hills in love with Maria Callas, Leontyne Price, Placido Domingo, Cecilia Bartoli, Renée Fleming, and Russian national treasure Anna Netrebko but you will NOT hear 'Popera' here either! 😆😆 I also thoroughly enjoy modern and post classical music from groundbreaking artists like Phillipe Glass, Arvo Pärt, Nils Frahm, and the extremely talented Max Richter--whom I have a crush on! 😍

ABOUT THE PHOTO: That's me at age twenty -- full of insecurities and fears and childhood traumas that I was not even aware of at the time. I grew up thinking I was an ugly duckling because my mother and my sister's are extremely beautiful women. My mother is Latina born in Panama and a direct descendant of Indigenous Panamanians and Spanish immigrants and she is what is called Mestiza. My father is a strong black Jamaican that immigrated to Panama in the 1930s. The reason I thought I was ugly is because my sisters and I have different fathers so our hair and complexion are different. My sisters have lighter skin and beautiful long straight hair. I grew up in Latin America where Colonial Mentality is pervasive to this day so I was told that I was not really black even though my father is a black man from Jamaica. I was taught that having lighter skin and straight was somehow better and I grew up believing negative societal constructs :/  Today I've myself beyond measure, I chose to be born and I love life 🥰

I hope you are happy, peaceful, and productive when you listen to this playlist, Nam Myoho Renge Kyo amigos! 😊

Musica clasica

Franz Peter Schubert (1797 – 1828) - Piano Trio No. 2 In E Flat Major  Op. 100

Pièce pour deux flûtes et piano, extrait de l'opéra Lakmé

Leo Delibes, Duo des Fleurs

Dexter Britain - Blissful Ignorance

Brahms ne composa que deux sextuors à cordes, à la fois pour rendre hommage aux compositeurs qu’il vénérait - Haydn, Beethoven, Schubert - mais aussi pour explorer dans ce genre musical rarement utilisé avant lui, de nouvelles harmonies. Ces pages en apparence si discrètes et charmeuses ouvrent
« la porte » du dernier romantisme.

« Nous ne sommes pas loin ici de la perfection. Les Talich s’affirment, une fois encore, comme les plus talentueux, d’une finesse et d’une intelligence de jeu peu souvent égalées. » (Diapason)

BRAHMS, String Sextet no.1 in B flat major, op.18 (Scherzo allegro non troppo)


« Les Talich offrent des interprétations d’une beauté constante et d’une rare justesse stylistique. Fidèles à l’esprit de Dvořák, pour qui la simplicité, la douceur et la vitalité étaient les règles intangibles de l’expression, les musiciens privilégient avec une étonnante sensualité les détails et la ligne d’ensemble comme la tenue rythmique. Leur jeu souple, clair et leurs phrasés aérés servent ces pages qui comportent quelques-uns des mouvements les plus complexes et évolués du compositeur. »
(Le Monde de la Musique)

DVORAK, quatuor à cordes n°12 en Fa majeur, "Américain", op.96 (Molto vivace)

« L’interprétation du Quatuor Talich est de toute beauté, car elle conjugue l’intensité d’une expression toujours passionnée et presque désespérée avec la précision la plus stricte dans les nuances et l’accentuation. Cette extraordinaire sobriété dans les détails saisit et glorifie le sens le plus profond comme le mode épique de la musique de Smetana. Les Talich suggèrent une perspective spirituelle aux confins du fantastique. » (Diapason)

En complément : FIBICH, Quatuors à cordes n°1 en La majeur

SMETANA, Quatuor à cordes no.1 en Mi mineur, "de ma vie" (allegro vivo appassionato)

A première écoute, les dissemblances entre les deux compositeurs Leos janacek et Erwin Schulhoff sautent aux oreilles. Mais entre les Tchèques Schulhoff et Janáček, les affinités sont fortes, essentielles. Leurs musiques partagent en effet la même alternance passionnée d’élans vitaux et d’accès méditatifs. Le Quatuor Talich chante avec merveille, une nouvelle fois, dans son arbre généalogique.
« Voici une vision spirituellement engagée, au lyrisme intense et concentré. Les Talich livrent avec aisance et inventivité ce langage kaléidoscopique. » (Diapason)

JANACEK, Quatuor no.1 "Sonate à Kreutzer" (Adagio)


Pour Haydn le défi de la durée des mouvements était d’autant plus grand, qu’il devait abolir le sentiment de la répétition des sept parties aux tempos uniformément lents. La force quasi-symphonique de cet ouvrage pour quatre instruments – seulement – ouvrait alors des perspectives inédites pour les compositeurs de la première moitié du dix-neuvième siècle.
« Le raffinement sonore des Talich laisse de grandes plages aux silences, illustrant un texte qui n’est pas dit, mais dont chaque note porte les mots avec détachement, comme le poids de la sérénité. » (Diapason)

HAYDN, Les 7 Dernières Paroles du Christ (Introduzione, maestoso ed adagio)

Major discoveries!
These three string quartets have much to offer in their charming melodies, strong rhythms, and pleasant moods. They deserve some critical attention as representative examples of early nineteenth century "brilliant" quartets, works composed for concert performance that usually featured a dazzling part for the first violin. 
The Talich Quartet delivers these bonbons with a light touch, and the engaging character of these pieces comes through in the group's agreeable repartee and buoyant energy, which is especially lively in the Scherzo movements. Sound is exceptional, so the strings feel vibrant and sharply defined in a warm and resonant environment.

KALLIWODA, String quartet no.1 in E minor, op.61

A cello quartet arrangement of the second movement from J S Bach's Orchestral Suite No. 3 in D major, BWV 1068.
Cello arranged and performed by Deryn Cullen
Mix and mastering by @dan-cullen

J S Bach - Air on the G - String

Lascia Chio Pianga Handel Trío de cuerda, Piano Y Soprano

Ave María Schubert Trío de cuerda, Piano Y Soprano

Антонио Вивальди - Времена Года. Зима

Anna Netrebko 
Giacomo Puccini 
'Gianni Schicchi' - O mio babbino caro  
July 7 2006 
THE BERLIN CONCERT 
live from the open air arena "Waldbühne"
conductor - Marco Armiliato
No copyright infringement intended. I own nothing.


Anna Netrebko - O mio babbino caro Gianni Schicchi live Waldbühne 2006

Vaughan Williams: The Lark Ascending

Thomas Gould, violin 
London Firebird Orchestra conducted by Achim Holub

Recorded live at St Paul's Covent Garden, London, on 20 March 2012.

Vaughan Williams: The Lark Ascending

Бетховен - Лунная Соната

Creativity is not something that can be turned on and off like a tap . . . 
Art is a labour of love, a question of patience and concentration. To place demands on it, criteria, quotas, damages it, slowly kills it. Art, like nature, must be allowed to develop and to grow, in order to attain plenitude. Following this principle, La Dolce Volta prefers to privilege quality over quantity. Releases are limited to ten albums a year, but each of them is the fruit of in-depth work, and above all a special relationship between the soloist and the composer. The artists’ virtuosity is coupled with their ineffable and highly personal approach, a feeling that can only be expressed through music. 
And since jewels worthy of the name can only be offered in special cases, the albums La Dolce Volta releases are themselves works of art: each record cover is an original work of art; the digipack’s inner sleeve includes a booklet in four languages and an interview with the musician. A bandeau is wrapped around each album, on which is printed the name of the soloist, the name of the composer, and the work performed. 
For La Dolce Volta, music is not just a shrink-wrapped object for sale. Like all beautiful things in life, it must come to fruition naturally, the result of careful craftsmanship, and offered like an exquisite flower. 
For La Dolce Volta music is a question of elegance and beauty without concessions.

KALLIWODA, String quartet no.1 in E minor, op.61

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