#Louis Moreau Gottschalk

[lesser-known-composers]

Louis Moreau Gottschalk (1829-1869) - Marguerite-Grand Valse Brillante ·

Leonard Pennario, piano

[oconnormusicstudio]

Billy Connolly and the William Tell Overture

  Today, we’ll be listening to the end of the William Tell Overture by Gioachino Rossini.  This piece, originally the overture to an opera, has been arranged for piano and is in several method books, including Piano Pronto Movements 1 and 2.  It’s also in Bastien Book 4 and Piano Maestro. The original story Maybe your grandparents watched the original Lone Ranger Or you saw the newer Lone…

[ozkar-krapo]

Louis Moreau GOTTSCHALK [p. Ivan DAVIS]

"Piano Works"

(LP. London Enterprise / Decca. 1985 / rec. 1975) [US]

[deadpanwalking]

different anon: what are your fave musician or music related autobiographies?

Questlove's Mo' Meta Blues

Patti Smith's Just Kids

Bob Dylan's Chronicles

Louis Moreau Gottschalk's Notes of a Pianist

[thaimains]

Battle cry of freedom

Oh we're springing to the call for three hundred thousand more, Īnd we'll fill the vacant ranks with a million freemen more, While we rally round the flag, boys, we rally once again, Oh we'll rally round the flag, boys, we'll rally once again, Īnd we'll rally from the hillside, we'll gather from the plain,ĭown with the traitors, up with the stars The first line boldly endorsed a perpetual Union – "The Union forever" – followed by a strong dismissal of secession: "Down with the traitor, up with the star." However, the battle cry Root shouted was one of "freedom." Freedom had many meanings in the Civil War – for instance, freedom from Confederate political tyranny or the oft-perceived "slaveholders' conspiracy" – but, in the context of Root’s political beliefs and other activities, he clearly meant to suggest some degree of abolitionism. The chorus was the key, for it was there that Root described why Northerners rallied around the flag. Those looking for anti-slavery sentiments could find them, but these elements were not so pronounced as to offend those who were solely unionists. The song's definition of the Northern cause is purposely open-ended. The ability of "The Battle Cry of Freedom" to bridge divisions over emancipation is not surprising. Thus, both groups of Unionists, those opposed to slavery and secession, could utilize the song without reservation: McWhirter, the song's success and popularity among the Union was due to its even-handed references to both abolitionism and unionism. Henry Stone, The Century Illustrated, "Memoranda on the Civil War: A Song in Camp" (1887), emphasis added Īccording to historian Christian L. Charles Ives quoted the song in several compositions, including his own patriotic song, "They Are There". Louis Moreau Gottschalk thought so highly of the song that in his diary he confided that he thought "it should be our national anthem" and used it as the basis for his 1863 concert paraphrase for solo piano "Le Cri de délivrance," opus 55, and dedicated it to Root, who was a personal friend. It is estimated that over 700,000 copies of this song were put in circulation. The song was so popular that the music publisher had 14 printing presses going at one time and still could not keep up with demand. Ī modified Union version was used as the campaign song for the Lincoln- Johnson ticket in the 1864 presidential election, as well as in elections after the war, such as for Garfield in the 1880 U.S. A patriotic song advocating the causes of Unionism and abolitionism, it became so popular that composer H. The " Battle Cry of Freedom", also known as " Rally 'Round the Flag", is a song written in 1862 by American composer George Frederick Root (1820–1895) during the American Civil War. Keith and Rusty McNeil perform both the Battle Cry of Freedom and Southern Battle Cry of Freedom on "Civil War Songs with Historical Narration" (WEM Records, 1989, ISBN 1-87)īilly Bragg wrote a song based upon the 'Battle Cry of Freedom' with a socialist slant called There is power in a Union on the Talking with the Taxman about Poetry album.Cover of the 1862 sheet music for "Battle Cry of Freedom" Ry Cooder performed this song as Rally 'Round the Flag on his Boomer's Story album. While we rally round the cause, boys, we'll rally in our might, Our noble women also have aided them at home.Ĭhorus Chorus (1864 election campaign) įor Lincoln and Johnson, hurrah, boys, hurrah!ĭown with the rebellion and on with the war, While our boys have responded and to the fields have gone. Their motto is resistance - "To tyrants we'll not yield!" They have laid down their lives on the bloody battle field. Our gallant boys have marched to the rolling of the drums.Īnd the leaders in charge cry out, "Come, boys, come!" We'll rally 'round the bonny flag, we'll rally once again, Our Dixie forever! She's never at a loss!ĭown with the eagle and up with the cross! Our flag is proudly floating on the land and on the main,īeneath it oft we've conquered, and we'll conquer oft again! So we're springing to the call from the East and from the West,Īnd we'll hurl the rebel crew from the land we love best, We will welcome to our numbers the loyal, true and brave,Īnd although he may be poor, not a man shall be a slave, We are springing to the call with a million freemen more,Īnd we'll fill our vacant ranks of our brothers gone before, While we rally round the flag, boys, rally once again, We will rally from the hillside, we'll gather from the plain, Yes we'll rally round the flag, boys, we'll rally once again, This is notable, because their citizens were enemies but sung the same patriotic song. There are two lyrics, a Union and a Confederate version.

[dustedmagazine]

Tangerine Dream — Raum (Kscope)

In 1855, the increasingly popular Creole pianist and composer Louis Moreau Gottschalk published “The Banjo.” It was a syncopated marvel, a salute to the American vernacular music in which he was steeped while doffing the hat toward “grand” European concert music of the Romantic era and all in a pithy and witty miniature. The point was the converging of seeming disparities. “Continuum,” the first track on Tangerine Dream’s new album, brought that genre-defining syncopation to mind. The “acid” beats thump and ride over the layered droning harmonic complexes, long-form sweeps and fragmented melodies any long-term Tangerine Dream fan would expect, but it’s all wonderfully distilled, justifying the track’s title and introducing a strong group statement.

So much ink has been spilled on Tangerine Dream’s vast and varied catalog, including what has transpired since founding member Edgar Froese’s 2015 passing, that any summary here would be superfluous. Only points of reference seem appropriate. There are the obvious ones, like the various violin exhortations harkening back to the cello quartet musings of Zeit, maybe Tangerine Dream’s first truly artistic statement. Raum is also replete with those deeper layers that defined the gloriously repetitive and constantly mutating Phaedra as well as the studio and concert recordings attendant to it and now readily available in the In Search of Hades box. As the titular track demonstrates, the band has returned to that formula, a move strategized by Froese as far back as 2014, but to state that is both to accentuate the obvious and to undervalue the many subtle variations on offer. “Raum” swirls into life but only blooms from there, each chord a complex layering of patches in flux as they define and defy space on the stereo spectrum. As with much of Tangerine Dream’s best work, the beat then emerges but from inside that amorphous soundscape, a convincing take on timbre and syncopation as one macrocosmic unification in instantaneous flux. All other elements inhabit a similarly conjoined series of spaces. Rhythms are generated by the elastic implications of loop, sweep and melodic articulation. Melodies peek out from the harmonies they’re echoing and defining by turn, just as the subtle sonic bait-and-switch juxtapositions of electronics and violin guide the second half toward its gaseous nebula conclusion. The band pioneered these mergers, and, as when Gong and Magma update acquaintance with trails they blazed, the results are gratifying and still somehow unique.

If the rest of the album seems to distill elements of that title track, plenty of beauty and power result. The concentration of “What You Should Know About Endings” transcends its brevity, digging deep into stratified distortion and ghostly harmonic undulation, just as “You’re Always On Time”’s title portends the swinging tempo games the shifting rhythms play. The thumping bass left-right-center motion adds body and heft to the track’s ethereality. “In 256 Zeichen”’s nearly 20 minutes offer the group aesthetic in serialized formation. Tone and rhythm meld and diverge until a climax at 4:50 leads to violin counterpoint in gemmy fragments augmented by slowly igniting electronics. None of this prepares for the gorgeous crescendo ultimately giving way, at 11:05, to a few moments of bare-bones straight-up rhythm. In that instant, just before the earth-shattering chords that halt time, just before the layers within and upon layers sample and hold harmony in continuously spiraling elucidation, a possibility is glimpsed. Stark syncopations foreground themselves, jostling and coexisting but delayed, technology in felicitous dialogue with the most ancient musical concerns imaginable. Like that long-ago and fabled piano miniature, eras combine to create the pillars of a portal opening on something as yet undiscovered. Strip away the cultural and technological notions of whatever preconceptions this music might embody, because one iteration or another of this 50-year-old organization witnessed their inception. Like the moment five and a half minutes into “Atem” or the majestically spacious opening of “Identity Proven Matrix,” the briefest soundscape depicts multitudes. Raum shows that they can still make it happen, vast swatches of sound, space and symbol coalescing along paths toward those points in time when Tangerine Dream sounds like no one else. 

Marc Medwin

[seaymph]

Gottschalk - La Colombe (The Dove) - Petite Polka, Op. 49 - Klaus Kaufma...

[dailyclassical]

Louis Moreau Gottschalk - Danza, Op. 33   (composed 1857)

Performed by Amiram Rigai

[dorkmanboy]

Sunday morning spinning: Gottschalk - A Night in the Tropics; Gould - Latin-American Symphonette

[peopleofthebarre]

Pacific Northwest Ballet soloists Angelica Generosa and Kyle Davis dance George Balanchine’s fast-paced Tarantella, to music (Grande Tarantelle) by Jewish-Creole composer and pianist Louis Moreau Gottschalk.

[lesser-known-composers]

Louis Moreau Gottschalk (1829-1869) - Souvenir de Porto Rico, Marche des Gibaros

Artist: Michael Linville

Hot Springs Music Festival, Conductor: Richard Rosenberg

[oconnormusicstudio]

Billy Connolly and the William Tell Overture

  Today, we’ll be listening to the end of the William Tell Overture by Gioachino Rossini.  This piece, originally the overture to an opera, has been arranged for piano and is in several method books, including Piano Pronto Movements 1 and 2.  It’s also in Bastien Book 4 and Piano Maestro. The original story Maybe your grandparents watched the original Lone Ranger Or you saw the newer Lone…

[adrianoantoine]

Brazilian Days (352): December 18

Brazilian Days (352): December 18

Brazilian Days 352 December 18 . DAY OF: Dia Nacional Contra o Trabalho Infantil (Brazilian Day against Child Labor). The International Day is on 12 June. Dia Internacional do Imigrante (International Migrants Day).       BRAZILIAN HISTORY: 1865 Death of maestro Francisco Manuel da Silva, songwriter of the Brazilian Hymn    1987 Ban on whale hunting in Brazil 1869 Death of pianist and…

[topoet]

G  Whizzes

Henryk Gorecki is a composer caught in the ‘big hit’ category thanks to his powerful Symphony No. 3. Dawn Upshaw’s performance in the Cantabile section sent this piece to the top of the classical charts for decades. I love the deep lulling emotional resonance of this symphony – yet have not felt the need to seek out more by Gorecki. A must have for any classical fan or anyone who enjoys those…

[chubachus]

Stereoview portrait of American composer and pianist Louis Moreau Gottschalk (left) posing with two friends, c. 1860′s. By George Stacy.

Source: Library of Congress.