“A great fire burns within me, but no one stops to warm themselves at it, and passers-by only see a wisp of smoke.” — Vincent van Gogh.

22.male.spanish/australian.

Ubaldo Gandolfi (Italian, 1728-1781),
"Mercury About to Behead Argus",
ca.1770-75,
Oil on Canvas.

Ubaldo Gandolfi (Italian, 1728-1781),

"Mercury About to Behead Argus",

ca.1770-75,

Oil on Canvas.

(Source: thisblueboy, via elreydelmar)

148 plays

Concerto Kolin

Concerto a quattro da chiesa Op.2 No.1 in D minor/ I. Largo
Concerto Koln

Evaristo Felice dall’Abaco (1675-1742).

An Italian composer and cellist, Dall’Abaco was born in Verona, the son of renowned guitarist Damiano dall’Abaco. His father, after seeing his son’s musical talent in school, let him take on violin and cello lessons. He is thought to be Torelli's pupil from whom he would have learned violin and cello.

He launched his musical career as a violinist with Tommaso Antonio Vitali in Modena, and in 1704 he joined the court of Maximilian II Emanuel, elector of Bavaria as Kammermusiker. Dall’Abaco was only a few months in Munich, when he was forced to flee with the court to Brussels, following Maximilian’s defeat at the Battle of Blenheim. On Maximilian’s restoration and return to Munich, in 1715, dall’Abaco was appointed Concert-meister. He continued to compose chamber music at the French and Dutch courts until 1740 when he retired.

Tom Thomson, (Canadian, 1877-1917),
Study for “Northern River”, (1914-1915),
Gouache, brush and ink over graphite on illustration board,
30 x 26.7 cm.

Tom Thomson, (Canadian, 1877-1917),

Study for “Northern River”, (1914-1915),

Gouache, brush and ink over graphite on illustration board,

30 x 26.7 cm.

(Source: artgalleryofontario, via dusty-musty-obsolete)

DAVID HOCKNEY,
"PORTRAIT SURROUNDED BY ARTISTIC DEVICES",
1965,
Acrylic on canvas.

DAVID HOCKNEY,

"PORTRAIT SURROUNDED BY ARTISTIC DEVICES",

1965,

Acrylic on canvas.

(via nearinfrared)

20 plays

Louis Spohr

Double Quartet #1 In D Minor, Op. 65 - 1. Allegro
Double Quartets (Disk 1)

Louis Spohr (1784-1859).

The Double Quartet format - for 2 string quartets - is not only unusual but is virtually unique to Spohr and must be ranked as his most important contribution to the realm of chamber music. The First Double Quartet, Op.65, was written during the spring of 1823 and published two years later.

In his memoirs, Spohr wrote that the idea of the double quartet came to him from friend and colleague, the famous violinist, Andreas Romberg. Quite apart from a standard octet which works as one large group, the idea of the Double Quartet was to have two separate, but equally important groups which could enter into the most varied of relationships.

 He set himself the task of using two quartets in frequent contrast in the manner of a double choir and saving the combining of the groups into an octet for the climaxes of the work. Hence the alternating of presentation of the thematic material of the two quartets creates a ongoing dialogue and is crucial to the structure of the work. It also allows for an even greater use of tonal coloration than the standard octet. He decreed that the two quartets were to be seated opposite one another with the first violin and cello of each quartet sitting directly across from his counterpart.

Clarence Alphonse Gagnon,
"Rising October Moon, Laurentians, unknown”,
Oil on canvas,
51.6 x 66.8 cm,
Gift from the Estate of R. Fraser Elliott, 2005.

Clarence Alphonse Gagnon,

"Rising October Moon, Laurentians, unknown”,

Oil on canvas,

51.6 x 66.8 cm,

Gift from the Estate of R. Fraser Elliott, 2005.

(Source: artgalleryofontario, via artsirenmariah)

26 plays

Wilhelm Kempff, Yehudi Menuhin

Sonate in D major op. 12 Nr. 1 - I. Allegro con brio
Sonaten fuer Klavier & Violine Nos.1, 2, 3, Rondo in G major (Disk 1)

Ludwig van Beethoven (1770-1827).

Beethoven’s first efforts in the genre, the Sonatas for Violin and Piano, Op. 12, are at once conventional and experimental. The Violin Sonata No. 1 in D major is a violin sonata from the Opus 12 set, along with the Violin Sonata No. 2 and Violin Sonata No. 3. It was written in 1798 and dedicated to Antonio Salieri. It has three movements:

  1. Allegro con brio
  2. Tema con variazioni: Andante con moto
  3. Rondo: Allegro

Apparently, the sonatas of Op. 12 were not initially well received: contemporaries of Beethoven criticized the three pieces for their unusual modulations and “learned” style, with nothing “natural” to be found in them. The critic for the Allgemeine musikalische Zeitung was especially unkind, and in a review of June 1799 remarked that “diligent and strenuous labor” was required to get through “these strange sonatas,” which contain “what we might call perversities.” As ridiculous as such an assessment seems to modern listeners, it is important to note that there are features of the sonatas that would have seemed very odd to 1799 ears. In general, Beethoven’s sonatas differ from the models of Haydn and Mozart in the increased importance of the violin part.

 

Claudio Parmiggiani (Italian, b. 1943),
"Untitled",
1978,
Pastel on blue paper, 51 x 38 cm.

Claudio Parmiggiani (Italian, b. 1943),

"Untitled",

1978,

Pastel on blue paper, 51 x 38 cm.

(Source: blastedheath, via nataliakoptseva)

Joseph Marius Avy (1871-1939),
"Bal Blanc" (White Ball),
1903,
Oil on Canvas.
(Click for high resolution!)

Joseph Marius Avy (1871-1939),

"Bal Blanc" (White Ball),

1903,

Oil on Canvas.

(Click for high resolution!)

(Source: classic-art, via carousel-bordeaux)

26 plays

Howard Shelley

Piano Sonata in E flat, Op. 7 No.1: II. Mesto
Clementi: The Complete Piano Sonatas, Vol. 1 [Disc 2]

Muzio Clementi (1752-1832).

An Italian composerpianistpedagogueconductor, music publisher, editor, and piano manufacturer; Born in Rome, he spent most of his life in England.

Encouraged to study music by his father, he was sponsored as a young composer by Sir Peter Beckford who took him to England to advance his studies. Later, he toured Europe numerous times from his long-time base in London. It was on one of these occasions in 1781 that he engaged in a piano competition with Wolfgang Amadeus Mozart.

Muzio’s earlier Sonatas tend to be more graceful, more ornamented, and more dance-like, reflecting the legacy of harpsichord music at a time when the piano was still just making its way into the marketplace. Those of Op. 7 and Op. 8 are in three movements, with contrasting character and keys between movements, and have the beginnings of heroic sweeps, like would be found in Beethoven's.

Charles Zacharie Landelle (French, 1812-1908),
Vae Victoribus (Woe To The Victors),
1871,
 Oil on canvas.
“Vae victoribus” or “Woe to the victors” was the warning that French intellectuals sent to Bismarckian Germany in 1870, reminding them that the seeds of France’s defeat and collapse in that year were sown in its triumphs of the Napoleonic era.

Charles Zacharie Landelle (French, 1812-1908),

Vae Victoribus (Woe To The Victors),

1871,

 Oil on canvas.

“Vae victoribus” or “Woe to the victors” was the warning that French intellectuals sent to Bismarckian Germany in 1870, reminding them that the seeds of France’s defeat and collapse in that year were sown in its triumphs of the Napoleonic era.

(Source: books0977, via dusty-musty-obsolete)

54 plays

The English Concert, Trevor Pinnock

Symphony No.44 in E minor "Mourning" - 3. Adagio
The "Strum und Drang" Symphonies, nos. 42, 44, 46

Franz Joseph Haydn (1732-1809).

One of the most prominent and prolific composers of the Classical period; He was instrumental in the development of chamber music such as the piano trio and his contributions to musical form have earned him the epithets “Father of the Symphony" and "Father of the String Quartet”.

The Symphony No. 44 in E minor, Hoboken 1/44, was completed in 1772 and is popularly known as Trauer (English: Mourning). Late in life, Haydn asked for the slow movement of this symphony to be played at his funeral. The work is in four movements and is scored for two oboesbassoon, two horns (in E and G), continuo (harpsichord) and strings. 

A lifelong resident of Austria, Haydn spent much of his career as a court musician for the wealthy Esterházy family at their remote estate. This isolated him from other composers and trends in music until the later part of his life, when he was, as he put it, “forced to become original”. At the time of his death, aged 77, he was one of the most celebrated composers in Europe. 

Nelson Freier plays Christoph Willibald Gluck (1714-1787).

Mort d’Orphee, Orpheus Death theme de l’opera Orphee et Eurydice, “Dance of the Blessed Spirits”. 

Piano transcription by Giovanni Sgambati. 

Josef Danhouser (1805 - 1845),
"Liszt at the Piano"
1840,
Oil on Canvas.
(Click for high resolution!)

Josef Danhouser (1805 - 1845),

"Liszt at the Piano"

1840,

Oil on Canvas.

(Click for high resolution!)

26 plays

London Mozart Players, Matthias Bamert

Sinfonia in G minor (with fugue), No.29 - I. Adagio - Allegro molto
Symphonies

Franz Xaver Richter (1709-1789).

Known as François Xavier Richter in France - was an Austro-Moravian singerviolinistcomposerconductor and music theoretician who spent most of his life first in Austria and later in Mannheim and in Strasbourg, where he was music director of the cathedral. From 1783 on, Haydn’s favourite pupil Ignaz Pleyel was his deputy at the cathedral.

The most traditional of the first generation composers of the so-called Mannheim school, he was highly regarded in his day as a contrapuntist. Mozart heard a mass by Richter on his journey back from Paris to Salzburg in 1778 and called it charmingly written. Richter, as a contemporary engraving clearly shows, must have been one of the first conductors to actually have conducted with a music sheet roll in his hand.

Richter wrote chiefly symphonies, concertos for woodwindstrumpetchamber and church music, his masses receiving special praise. He was a man of a transitional period, and his symphonies in a way constitute one of the missing links between the generation of Bach and Handel and the Viennese classic. 

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