Now Playing Tracks

  • Track Name

    Symphony No. 82 in C major, Hob. I:82 "L'Ours": IV. Finale. Vivace assai

  • Album

    Leonard Bernstein, New York Philharmonic Orchestra

  • Artist

    Joseph Haydn


Joseph Haydn - Symphony No. 82 in C major, Hob. I:82 “L’Ours”: IV. Finale. Vivace assai

Leonard Bernstein, New York Philharmonic Orchestra

From allmusic:

"The final movement is the one that provides this work its nickname, "The Bear." It features a rustic tune played over a comical drone, which suggested to its early listeners the sound of bagpipes and the dancing bears which frolicked to their sound at village fairs. Haydn moves from these rustic sounds into some exciting contrapuntal development that builds up to a false ending, giving him the opportunity for one last exciting drive to the real conclusion."

  • Track Name

    Les Sirènes

  • Album

    Lili Boulanger: Clairières dans le ciel; Les sirènes; Renouveau

  • Artist

    Lili Boulanger

Lili Boulanger, Les Sirènes

New London Chamber Choir, James Wood, Amanda Pitt


Nous sommes la beauté qui charme les plus forts.
Les fleurs tremblantes de l’écume
Et de la brume,
Nos baisers fugitifs sont le rêve des morts!

Parmi nos chevelures blondes
L’eau miroite en larmes d’argent.
Nos regards à l’éclat changeant
Sont verts et bleus comme les ondes.

Avec un bruit pareil
Aux delicats frissons
Des moissons
Nous voltigeons
Sans avoir d’ailes.

Nous cherchons de tendres vainqueurs.
Nous sommes les sœurs immortelles
Offertes aux désirs de vos terrestres cœurs.

Charles Grandmougin (1850-1930)

We are the beauty which charms the strongest men.
Trembling flowers of foam
and mist,
our fleeing kisses are the dream of the dead!

Amidst our blond tresses
the water gleams like tears of silver.
Our shimmering glances
are blue and green as waves.

With a noise like the
delicate shivers
of harvests
we flutter
without having wings.

We seek tender victors.
We are the immortal sisters
offered up to the desires of your earthly hearts.

  • Track Name

    Oboe Concerto in C major, K. 314, I. Allegro Aperto

  • Album

    Bassoon Concerto, Oboe Concerto, Clarinet Concerto

  • Artist

    Martin Gabriel; Johannes Wildner: Vienna Mozart Academy


Wolfgang Amadeus Mozart (1756-1791)

The Oboe Concerto in C majorK. 314 was originally composed in Spring or Summer 1777 for oboist Giuseppe Ferlendis (1755–1802) from Bergamo, then reworked by the composer as a concerto for flute in D major in 1778. The concerto is a widely-studied piece for both instruments and is one of the more important concerti for the oboe.

While the original version for oboe had been lost before Alfred Einstein wrote Mozart: His Character, His Work, the oboe origin of the flute concerto was suspected then, in part because of references in letters to a now-missing oboe concerto, as Einstein wrote, and of similar details in the orchestral string lines which suggested a transposition was used.

Also, Einstein noted the two scores in D Major and C Major of the K. 314 Concerto in the Library of the Gesellschaft der Musikfreunde in Vienna, which led to the belief that the oboe concerto was the origin of the flute concerto. The orchestra parts of the composition and solo oboe part in C were rediscovered by Bernhard Paumgartner in Salzburg, in 1920.

brokenponiesmendedteacups asked:

Brian Reitzell interview: "Reitzell: “The thing about the harpsichord is, the harpsichord is known as the instrument of death because the notes die, right? You pluck them once, there’s no sustainment at all. It also was adorned often so that it looked like a coffin. Whereas the instrument of life is the organ, because the organ has got this nonstop flow of air." But I fear that copyright police are the real instruments of death. Please don't disappear!!!

Thanks for the support, and yes, if you ask me, the people filing copyright complaints are digging their own graves. Part of the intention of folks like me uploading one or two tracks from an album is to draw attention on it or on the artist (which is why I almost never post or reblog a track without this information). Some told me they bought albums because of me, and I myself bought stuff I discovered in the same way, that I wouldn’t have heard of otherwise.

But hey, you gotta enforce the laws, otherwise it’s anarchy, right?

NB: That Reitzell interview is a bit curious. I never heard that harpsichord was known as the instrument of death, maybe someone could shed a light on this? All I could find through a quick google search is that it was a symbol of resurrection : the dead tree being brought to life again as an instrument that sings (and so it was ornemented with various birds, not exactly coffin-like…). The anecdote about the hannibal people asking him advice on which instrument Lecter should play is strange too. We know very well what instruments he plays because it’s in the books, and I doubt anyone involved in Hannibal wouldn’t have read them. So I don’t see why they would be surprised by his answer.

lillithdv8 replied to your post: (from Tumblr) Hello, We’re writing to…

Wait what’s going on? Are they going to suspend your blog?

Well, that’s what they say anyway. Apparently lots of people received this warning last week so I’m not too worried, but if it’s not just scare tactics, my account will be deleted with the next notice - which is unavoidable considering the amount of music I uploaded.

If that happens, I’ll let all of you know what I decide to do on this other account :

If not, all is well.

(from Tumblr)


We’re writing to let you know that, due to repeated uncontested notifications of copyright infringement against one or more of your blogs, your Tumblr account is one more uncontested notice away from termination. PLEASE CONSIDER THIS A FINAL WARNING.

"The thought that my life could end at any moment frees me to fully appreciate the beauty, and art, and horror of everything this world has to offer." — H. L.

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