Name: David Popper - Dance of the Elves (Elfentanz) by Jason Pegis in Heavy, Dynamic, and Powerful Classical/Orchestral/Symphonic/Opera
Duration: 3 min 7 s
Description: Ridiculous, whimsical, and fun show piece by Popper for the cello - recorded live in Lani Hall at UCLA with Xiao Chen, piano.

Heavy, Dynamic, and Powerful Classical/Orchestral/Symphonic/Opera

My Base Rock version of Concerto grosso for strings Palladio -1. Allegretto with score of Violin (I) I played by electric guitar

Karl Jenkins Concerto grosso for strings-Palladio-1.Allegretto(mia base realizzata in versione rock)

Ridiculous, whimsical, and fun show piece by Popper for the cello - recorded live in Lani Hall at UCLA with Xiao Chen, piano.

David Popper - Dance of the Elves (Elfentanz)



Wolfgang Amadeus Mozart wrote his Symphony No. 40 in G minor, KV. 550, in 1788. It is sometimes referred to as the "Great G minor symphony," to distinguish it from the "Little G minor symphony," No. 25. The two are the only extant minor key symphonies Mozart wrote.

The work is in four movements, in the usual arrangement for a classical-style symphony (fast movement, slow movement, minuet, fast movement):

Molto allegro, 2/2
Andante in E-flat major, 6/8
Menuetto. Allegretto – Trio, 3/4
Finale. Allegro assai, 2/2

The fourth movement opens with a series of rapidly ascending notes outlining the tonic triad illustrating what is commonly referred to as the Mannheim rocket.

Retailers:

YouTube
https://music.youtube.com/playlist?list=OLAK5uy_m4VsdRl4Yv4y63CU_ArM91jVaewHDk0Us

Tidal
https://listen.tidal.com/album/53171424

Google Play
https://play.google.com/store/music/album/Mozart_Mozart_Symphonies_Sonatas_Serenades_Concert?id=Bbrfnmsqsow4thkok67d7hr7kku&hl=en

Napster
https://us.napster.com/artist/wolfgang-amadeus-mozart/album/mozart-the-essential-collection

Deezer
https://www.deezer.com/us/album/12179034

Spotify
https://open.spotify.com/album/2g0NuO4CPA2uBLjzLqioCN

Amazon
https://www.amazon.com/Mozart-Collection-Haydn-Light-Orchestra/dp/B015NQQFHC/

Orchestral samples included in this recording from the Vienna Symphonic Library.

Audius

Symphony No.40 in G-Minor, K. 550: ‘Great’  IV. Finale, Allegro Assai

For Cello & electronics 5.1 (stereo reduction)
Jason Pegis, Cello
Recording Live of the Première at McGill University

''Les problèmes d'une toute récente science de l'Art, posés délibérément d'une façon succincte, dépassent dans une évolution conséquente les limites de la peinture et finalement de l'Art même. Ici, j'essaie de poser quelques jalons seulement – méthode analytique, tenant compte des valeurs synthétiques.'' 
W.Kandinsky, Avant-Propos de Point et Ligne sur Plan
Dans son essai sur les débuts de la peinture abstraite Point et Ligne sur Plan, Kandinsky étudie l'impact de ce qu'il appelle les éléments de bases, c'est-à-dire du point et de la ligne, sur le plan que représente la toile, mais aussi sur la perception de l'admirateur. Du placement, de la direction, de la morphologie simple ou composée de ces éléments de bases naissent des tensions, des énergies, mais aussi du Temps et du devenir. Kandinsky n'étudie donc pas l'aspect émotionnel de la peinture, mais son impact sur la perception.
Après la lecture de cet essai, l'envie me prit d'appliquer les théories de Kandinsky à ma musique, c'est-à-dire d'analyser et d'extraire d'une oeuvre de Kandinsky les éléments perceptifs, puis de composer une musique dont le résultat s’approcherait le plus possible de ces perceptions. Il ne s'agit donc pas d'utiliser le tableau comme moyen – comme inspiration - , mais comme objet, comme matériau musical de base pour la composition. Pour cette première pièce d'une investigation que je souhaite poursuivre d'avantage, j'ai choisi le tableau Jaune-Rouge-Bleu, tableau d'une grande complexité, me permettant une grande variété d'interprétations et de visions. Plus qu'une description ou qu'une inspiration issue d'un tableau, cette pièce tente un parallèle entre la Peinture et la Musique, investiguant ces deux faces d'une même perception.

''The problems of a recent science of Art, deliberately set in a succinct manner, exceed in a substantial evolution the limits of Painting and Art itself. In this essay, I attempt to set some points of departure – analytical methods, taking synthetic values into consideration.''
W.Kandinsky, Preface of Dot and Line to Plan
In his essay on the beginning of abstract painting “Dot and Line to Plan”, Kandinsky studies the impact of what he calls the basic elements, the dot and the line, on the plane represented by the canvas, but also on the perception of the admirer. The placement, direction and the simple or composed morphologies of those elements produce tensions and energies as well as a sense of time and becoming. In other words, Kandinsky doesn't study the emotional aspects of the painting, but its impact on the admirer’s perception.
After reading this essay, I wanted to apply the theories of Kandinsky to my own music by analyzing and extracting perceptive elements from a Kandinsky painting, and then composing a piece whose result would be as close as possible to an admirer’s perception of the said painting. The painting is not used as an inspiration, but as an object or basic musical material for the composition. For this first piece from an investigation which I hope to pursue further, I worked with Kandinsky’s “Jaune-Rouge-Bleu” whose various complexities allowed me to choose from a number of interpretations and visions. Rather than a description or an inspiration from the painting, this piece attempts to draw a parallel between Painting and Music, investigating two representations of an identical perception.

David Popper - Dance of the Elves (Elfentanz)

Jason Pegis

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