#Sinfini Music

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Klasik Dönem (1750 – 1810)

Baroğun o cafcaflı karmaşası yerini başta yalın bir doğallığa ardında da pırıl pırıl bir berraklığa bırakınca artık her şey değişmişti.

Yüksek Baroğun kendini en çok adamış temsilcilerinden Johann Sebastian Bach bile bu amansız değişim dalgası karşısında duramadı. Öyle ki birer seçkin besteci olan oğulları Carl Phillip Emanuel, Johann Christian ve Wilhelm Friedmann da bu yeni Klasik devrin canlandırıcı yapısal berraklığını benimsediler. Nasıl ki Barok besteciler en az malzemeyle bütün bir eseri inşa etmeye eğilimliydilerse Klasik devri de en iyi betimleyen, iki ya da daha çok karşıt düşüncenin çatışmasında filizlenen “sonat” biçimi oldu.  

Senfoni ve klasik konçerto türlerinin yükselişe geçmesi sonucunda yaylılar, ahşap ve bakır üflemeliler ile vurmalı çalgılardan oluşan bir orkestra ortaya çıktı. Oda müziği ise yaylı dörtlüsü ve piyano üçlüsü merkezinde gelişirken piyanonun ayırt edici özelliği olan çekiç mekanizması (oysa klavsende mekanizma telleri yalnızca çekip bırakıyordu) sayısız piyano sonatına ve bir yığın çeşitlemeye olanak tanıdı. Koro müziği alanında missa üstünlüğünü korurken opera hala salonların vazgeçilmeziydi.

Avrupa’yı kasıp kavuran devrim dalgasının müziğe de sıçramayacağından emin görünen aristokrasi, Haydn ve Mozart gibi son derece özgün dahilerin eserlerine sahip çıkmaya özen gösteriyordu. Ancak Napoleon fetih iştahıyla kollarını sıvadığında serbest çalışan ilk büyük besteciler, çığır açan devrimci Beethoven ve mest eden ezgilerin yaratıcısı Schubert ortaya çıkmıştı bile. Geniş bir yelpazeye hitap eden duygusallığı ve eşsiz bir çoşkunluğa sahip notaları ile klasizm bir uçurumun eşiğindeydi. Bundan böyle müzik hiç eskisi gibi olamayacaktı.

kaynak: sinfini music | çeviren: Okay Arık

[loudunity]

Mixtape with Midnight Sinfini, Sidus Atrum, Category VI, Tardigrade Inferno, Juliet Ruin and Monachopsis Art

Six songs for your listening pleasure, today’s post is filled with new music varying from serene to evil, so check it out and support the bands. If available, the songs are added to the Loud Unity Spotify playlist. Make sure to follow as it is updated on an almost daily basis. Photo: Midnight Sinfini Synth Metal is not everyone’s cup of tea, especially not for the so-called true metalheads,…

[elanabeavers8-blog]

Female Nation Vocalists.

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Chilly Gonzales & Kaiser Quartett Perform Green's Leaves For Sinfini Music

[not-so-humble-musician]

Another choral piece, Bruckner’s Locus Iste. It bears striking harmonic similarities to the Pilgrim’s Chorus from Tännhauser.

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Olivier Messiaen's Quartet for the End of Time premiered on 15 January 1941 in the prisoner-of-war camp where the composer was interned during World War Two. To celebrate the 75th anniversary Sinfini Music commissioned me to create an animation around it. Working with Prof. Marcus du Sautoy I used the piece to explore Messiaen's complex relationship to mathematics, music and religious belief. https://ift.tt/2Nbj4Jg Animation/Direction: Simon Russell/Vicarage Studio Commission: Emma Bharj/Sinifini Music Sound Design: Redhorse Studio With special thanks to Marcus du Sautoy Quartet for the End of Time by Olivier Messiaen Performed by Claude Desurmont (clarinet) Luben Yordanoff (violin) Albert Tétard (cello) Daniel Barenboim (piano) © 2015 Deutsche Grammophon GmbH, Berlin

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Bach: The Well Tempered Clavier for Sinfini Music by Alan Warburton

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Can Songs Enhance The Taste Of Red or white wine?

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Just Pinned to ˚ b r a n d i n g ˚: Sinfini Music 'Cutting Through Classical' brand campaign by Studio Output (TM). http://ift.tt/2jTud33

[kebee-s]

Quartet for the End of Time/The Crystal Liturgy from Simon F A Russell on Vimeo.

Olivier Messiaen's Quartet for the End of Time premiered on 15 January 1941 in the prisoner-of-war camp where the composer was interned during World War Two. To celebrate the 75th anniversary Sinfini Music commissioned me to create an animation around it. Working with Prof. Marcus du Sautoy I used the piece to explore Messiaen's complex relationship to mathematics, music and religious belief.

To learn more about the mathematics and the production process go to vicarage.studio/messiaen twitter.com/vicaragestudio

Animation/Direction: Simon Russell/Vicarage Studio Commission: Emma Bharj/Sinifini Music Sound Design: Redhorse Studio With special thanks to Marcus du Sautoy

Quartet for the End of Time by Olivier Messiaen Performed by Claude Desurmont (clarinet) Luben Yordanoff (violin) Albert Tétard (cello) Daniel Barenboim (piano) © 2015 Deutsche Grammophon GmbH, Berlin

[senfonikankara]

Joseph HAYDN (1732-1809)

Joseph Haydn wore the livery uniform of a court servant for most of his career, composing and performing to order. When he was eventually granted a measure of freedom, he became one of the first composers to write for a mass audience. The result was adulation, and it was richly deserved. Almost single-handedly, Haydn established the formats on which classical music would be based for more than a century.

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Two titles are regularly bestowed upon him: 'Father of the Symphony' and 'Father of the String Quartet'. But his influence was equally important on the concerto, the piano sonata and the piano trio. Haydn was a wheelwright's son and a natural self-improver. Not only did he make every effort to learn and perfect his musical craftsmanship, he acquired the social skills to be welcome in any company. But he did have to learn those skills.

He spent nine years as a chorister at St Stephen's Cathedral in Vienna until he was suddenly ejected and left homeless and without income. His voice had broken, but cutting off the pigtail of another choirboy had hastened his exit. He survived through busking and teaching. He was briefly employed in Vienna with the Italian opera composer Porpora and a Bohemian nobleman, Count Morzin, but real financial security did not come until 1761.

From then and for the next 30 years, Haydn was an employee of the Esterházy family. Haydn's first years of composing for the Esterházy family have been called his period of Sturm und Drang ('storm and stress'). It is an apt description of music that was highly dramatic, musically adventurousness and emotionally unrestrained. However, it was soon replaced by a more characteristic steadiness and civility.

As his Hungarian employers moved between their winter and summer palaces, Haydn followed. He was in effect a servant and his duties were considerable. They included running the orchestra, composing to entertain the court and its guests and presiding over the chapel choir and musicians. For good measure, he also had to produce a few new operas.

By the standards of the time the Esterházy princes were benevolent masters. They appreciated Haydn's genius and found him easy to get on with. That genius is best illustrated by his symphonies, of which he wrote 104. Haydn wasn't the first symphonist, but he was the one who established the genre's definitive four-movement design. He also gave sonata form the proportions that saw it become the musical foundation of both Classical and Romantic eras.

The features of Haydn's symphonies are mirrored in most of the other genres in which he wrote. And yet they are not short of innovation. Touches of folk music are often present. His third-movement minuets frequently mix the courtliness of the formal dance with more rustic tones. His finales are notable for their jocularity. Haydn's humour is less arcane than Mozart's and less aggressive than Beethoven's. Perfectly timed and always appropriate, his musical wit reveals much of his personality.

By the mid-1770s his fame was spreading, partly because of the newly developing infrastructure of music publishing. Commissions began to come from outside the Esterházy court, and Haydn's employers allowed him to take them on. His chamber music sold well. The 1781 publication of the six string quartets op.33 marked a significant new phase, both in Haydn's career and in the establishment of the genre. The quartets show an ideal combination of intimate detail and sweeping total effect. 

Until recently Haydn's concertos, piano trios and piano sonatas were neglected but recordings have revealed their considerable worth. His operas may one day be similarly re-evaluated, though for all their attractiveness they suffer from comparison to Mozart's psychologically perceptive inventions. The oratorios remain perennially popular. The Creation (1798) and The Seasons (1801) date from Haydn's return to Vienna after two triumphant visits to London. There he had been inspired by hearing Handel's oratorios.

Eventually releasing him from court duties, the Esterházys allowed Haydn two visits to England (1791-92 and 1794-95). There he conducted new symphonies in subscription concerts organised by the entrepreneur Johann Peter Salomon. By now he was composing on a grand scale, giving starring roles to wind and brass and allowing slow introductions to his first movements.

The wheelwright's son who had charmed court circles had mastered the art of writing for a large and diverse public. He was adored in London and feted in Vienna when he returned for his final few years. Such was his international reputation that Napoleon, whose forces were attacking the Austrian capital as Haydn lay dying, placed an armed guard around the composer's house.

Source: Sinfini Music

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You will not regret watching this.

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Get to know pianist Benjamin Grosvenor, who makes his Spivey Hall debut on April 26, 2015. Tickets: 678-466-4200.                    

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Paul Morley on Hauschka’s music "It’s right on the contemporary dream sweet spot where classical, electronic, pop, sound art, novelty camouflage and the avant-garde meet."

Above is the trailer by the brilliant new Classical music website Sinfini Music for their session and interview with Hauschka. 

Sinfini filmed the exclusive performance and interview with Hauschka as the basis for esteemed music critic Paul Morley's “Where Do You Start” (Part 4)  – the 4th in his series of novel introductions to classical music, linking in pop, electronic and other music genres to the classical tradition.  The piece is a potted history of the piano, taking readers on a journey from Mozart to the toy piano and prepared pianos of John Cage, through to the electronic music of Aphex Twin and minimalism-influenced Hauschka, who has also worked with violinist Hilary Hahn, fusing her love for Bach with his sensitive prepared piano music. 

Unfortunately, on the way to the sesssion Hauschka lost his tool kit to prepare the piano.  Bereft of the ping pong balls, marbles and mini vibrators that give his piano pieces their unique sound, Hauschka set off to trawl the streets of Soho to assemble a new collection.  This involved visits to sex shops, sports and hardware stores and fashion jewellery outlets to purchase vibrators, various household tools and necklace chains.

Hauschka commented on his London trip, “On my way to the interview I found that I’d lost all my preparations.  Starting at Paddington station, I bought chopsticks and wooden sticks and I had to find all the other props in Soho.  I found erasers and other materials in an art store, and vibrators at an erotic shop.  Funnily enough I found some great objects and I was able to use all of them at the Sinfini performance.”

Click HERE to explore Paul Morley's "Where do you start" (Part 4) and watch the stunning live session and video interview with Hauschka, amongst other brilliant features about the prepared piano. 

[earwithfeet]

Sinfini Music interivew, listen to the whole 43-minute podcast

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Camille SAINT‑SAËNS (1835‑1921)

'I compose music', said Camille Saint-Saëns, 'as a tree produces apples.' A child prodigy, virtuoso pianist and accomplished travel writer, the prolific French composer came to embody the spirit of Classicism in an era of high Romantic creativity. Yet the elegance and formality of his music never overwhelm the unstoppable verve and spontaneity that make it so irresistible.

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Saint-Saëns took pride in his family's Normandy roots, but his father had moved to Paris before his birth and Camille was thoroughly Parisian in his upbringing and outlook. After his father died of tuberculosis, he was brought up by his mother and an aunt. They encouraged the signs of genius that saw him deliver written compositions before he was four and make a public appearance aged five, playing the piano part in a Beethoven violin sonata.

By the age of ten, he was good enough to perform two concertos alongside several solo pieces in a legendary concert at the Salle Pleyel concert hall in Paris. Study at the Conservatoire followed, then a solo career to go alongside his composing work. This was bolstered by organist posts at prestigious Paris churches where his awe-inspiring improvisation skills had the chance to flourish.

For a while in the 1860s Saint-Saëns taught at the École Niedermeyer, an alternative to the Conservatoire that had more of an interest in early music, where the composers Gabriel Fauré and André Messager were among his students. He married in 1875, quickly fathering two sons. Both died in 1878, one by falling from a window. Saint-Saëns blamed his wife and left her three years later. Subsequently, he travelled widely and adventurously, frequently visiting Algeria.

Throughout his life he was an intellectual omnivore, especially in the sciences, writing intelligently and engagingly on a wide range of subjects, and maintained a vigorous presence on the Paris musical scene. In 1871 he was the driving force behind the new Société Nationale de Musique, formed to promote instrumental music in the face both of German pre-eminence - this was the year after the Franco-Prussian War - and of the city's obsession with opera.

Later he was an opponent of Wagner's influence and then of Debussy. But among composers, he held the respect not only of Fauré but of Maurice Ravel and the generation of composers led by Francis Poulenc that followed shortly. Clearly, Saint-Saëns was one of the great musicians of his time. His compositions are the fruit of an agile brain, finding unexpected colours in familiar instruments and treating standard musical forms in original ways.

His qualities are at their sharpest in his five piano concertos, all vehicles for his nimble playing. The Second, the most performed, opens with a Bach-like theme and continues at ever greater speeds. In the Fourth, the four movements merge into two pairs, linked by a tissue of developing themes. The Fifth is full of exotic effects and evocations of Egypt (he wrote the piece in Luxor, famous for its ruined temples), and ends with a ragtime romp. 

With Le Rouet d'Omphale (Omphale's Spinning Wheel, 1871) he composed the first French symphonic poem. And in his final symphony of 1886 he launched a new French interest in the form. This, the Third Symphony, also known as the 'Organ' Symphony, uses a two-movement plan similar to his Fourth Piano Concerto. Everything grows from two brief themes towards a spectacular culmination in accelerating rhythms, lavishly orchestrated with great skill.

One of the symphony's most fetching effects, a piano duet rippling against string harmonies, was recycled the same year in the movement titled 'Aquarium' in his Carnaval des Animaux ('Carnival of the Animals'). Saint-Saëns would only allow this satirical piece to be played in private in his lifetime as he feared its light-hearted character would tarnish his reputation as a serious composer. All, that is, except for one movement: 'The Swan'.

Played by a solo cello and piano duet, the lyrical melody has a depth of felling that is unusual for Saint-Saëns. In music and in person, he was affected by an emotional inhibition that limited the truly affecting moments in his work. Opera, in all its human and dramatic dimensions, was a struggle. He had great difficulty in securing performances of Samson et Dalila, only doing so when his friend Liszt came to the rescue with an 1877 production in Weimar. It soon became a fixture in the Paris Opera repertoire but its success was not to be repeated.

Of Saint-Saëns's later operas only Henry VIII survived for long. Even Samson, still popular today, relies on two arias that really capture Delilah's character, suggesting a complex mix of sensuality and scheming. Some of the rest is engaging to the ear, but the story is short of opportunities for theatrical thrills. Yes, the temple is brought crashing down at the climax, but everybody knew it this was going to happen anyway.

Living on for half a century after he founded the Société Nationale, Saint-Saëns was able to witness the great flowering of French chamber music that took place during the period, led by his pupil Fauré. Not everything was to his taste, however. As the dedicatee of César Franck's Piano Quintet (1880), he took part in the premiere, but walked out at the end leaving his inscribed score on the piano. Apparently its passionate expression, inspired by a controversial love interest of Franck's, was too much for him. Saint-Saëns made major contributions of his own to the chamber repertoire, including sonatas for violin and for cello and a superb Septet featuring solo trumpet. Then, right at the end of his life, he began a series of woodwind sonatas. In their understanding of the instruments' capabilities, their compact forms and their focused expression they are among his most perfect achievements.

Source: Sinfini Music