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Queen of Spades sound track from the unreleased 1934 film.

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A little 20th century musical history.

Paul Stefan, Rudolf Kastner, Arnold Schönberg, Otto Klemperer, Hermann Scherchen, Anton Webern and Erwin Stein after the premiere of Schoenberg’s Serenade, Op. 24 in 1924. 

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Still quite timely.

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Einojuhani Rautavaara. Epic.

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My cousin. (Just kidding!).

Agustín Barrios Mangoré (1885-1944) - Serenata morisca ·

Celil Refik Kaya, guitar

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Una bella voce!

Ingeborg Bronsart von Schellendorf (1840–1913) : 'Lorelei' performed by Natasha Page and Ella O'Neill.

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Carlo Zuccari (1704-1792) - Flute Sonata in G Major: I. Allegro (2) ·

Mario Carbotta, flute · Roberto Cognazzo, harpsichord

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The Christmas Oratorio.

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Sergei

Prokofiev - Sonata no. 6 in A Major

I first heard this sonata in high school and honestly it was THE angsty bangy piano piece that my rebellious self could relate to. Of course, that was me focusing on the more garish parts and the unstable tonality. I haven’t listened to that sonata in forever, and it recently came up in my “recommended videos” on YouTube. I listened through again, following the score, amazed how much I remembered it. Like, with every passing bar, I could only recall what happens right after, and this strange recollection of memory, in patches, made it feel surreal. I know more about music now and about Prokofiev’s overall style, and I was captivated by all of the small details coming through that I hadn’t known before. The sonatas nos. 6, 7, and 8 were written between 1940-44, and so are known as the “War Sonatas”. No.7 is the most popular, but I’ve always had a soft spot for no. 6. Because of current political trends, the threat from the Nazis, the fear under Stalin, loss of his close friend to the regime [Vsevolod Meyerhold was an opera director and was arrested by secret police and shot. A month later, Meyerhold’s wife was found murdered under “mysterious circumstances”], and being basically forced to write an obnoxious and saccharine cantata for Stalin’s 60th birthday, Prokofiev had to channel his true anger and pain in these sonatas. The sixth opens with an unstable main theme, that rides forward like a grotesque and cold machine. The second melody has a thinner texture and is almost dreamlike, before the machinery of the opening takes over in a grotesque march. The second movement is kind of like a march, built of staccato chords throughout. The third is like a very slow waltz, lushly written and elongated, full of longing. The final is a rushed speed through hell, as dark as you’d expect a Soviet toccata to be.

Movements:

1. Allegro moderato

2. Allegretto

3. Tempo di valzer lentissimo

4. Vivace

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This is funny!

Microtonal chord names I just made up:

Intervals:

Supermajor: major interval raised 50 cents

Subminor: minor interval lowered 50 cents

Neutral: major interval lowered 50 cents/minor interval raised 50 cents

Superaugmented: augmented interval raised 50 cents

Subaugmented: augmented interval lowered 50 cents

Superdiminished: diminished interval raised 50 cents

Subdiminished: diminished interval lowered 50 cents

Triads:

Major triad: root + major third + perfect fifth

Supermajor triad: root + supermajor third + perfect fifth

Minor triad: root + minor third + perfect fifth

Subminor triad: root + subminor third + perfect fifth

Neutral triad: root + neutral third + perfect fifth

Augmented triad: root + major third + augmented fifth

Superaugmented triad: root + major third + superaugmented fifth

Supermajor triad (#5): root + supermajor third + augmented fifth

Hyperaugmented triad: root + supermajor third + superaugmented fifth

Half-augmented triad: root + major third + subaugmented fifth

Half-superaugmented triad: root + supermajor third + subaugmented fifth

Diminished triad: root + minor third + diminished fifth

Subdiminished triad: root + minor third + subdiminished fifth

Subminor triad (b5): root + subminor third + diminished fifth

Hypodiminished triad: root + subminor third + subdiminished fifth

Half-diminished triad: root + minor third + superdiminished fifth

Half-subdiminished triad: root + subminor third + superdiminished fifth

Escalated triad: root + neutral third + augmented fifth

Superescalated triad: root + neutral third + superaugmented fifth

Half-escalated triad: root + neutral third + subaugmented fifth

Abated triad: root + neutral third + diminished fifth

Subabated triad: root + neutral third + subdiminished fifth

Half-abated triad: root + neutral third + superdiminished fifth

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Sunday listening.

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A wonderful piece.

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One of my favs!

Marten Root, traverso

Mieneke van der Velden, viola da gamba

Menno van Delft, harpsichord

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Eugène Walckiers (1793-1866) - Quatrième Quatuor op. 48

Academia de los Afectos

Natural horn: Couturier Breveté, ca. 1852 Lyon, France. Original.

Clarinet in B flat, 6 keys: A. Grenser, ca. 1780 Nuremberg, Germany. Copy made by Rudolf Tutz, Innsbruck.

Flute, 8 keys: A. Grenser, ca. 1790 Dresden, Germany. Copy made by Martin Wenner, Singen.

Bassoon, 8 keys: H. Grenser, ca. 1800, Dresden, Germany. Copy made by Pau Orriols, Barcelona.

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August Klughardt (1847-1902) - Wind Quintet op.79

played by the Berlin Philharmonic Winds:

Andreas Blau- flute, Jonathan Kelly- oboe, Sarah Willis - horn, Stefan Schweigert - bassoon, Alexander Bader- clarinet

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Ms. Baeva made stunning performance. W/O reading music.

Orchestra was brilliant!