classic music
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| Originally posted by kristina Kolku ja sakate klasicnata muzika? |
Koga studirav vo Skopje dodeka ucev slusav Classic radio FM, mislam deka bese nekade okolu 90.-93., blisku do MG:)
Bas mi e mi e milo so ima nekoj so slusha i mene mi e omilen Chaikovdki...
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| Originally posted by kristina mmm...........kolku sakam i jas da sviram.............mozete li da zamislite tatko mi e profesor po klavir ima izuceno 2000 deca a mene ne me nauci, zalno! |
kristina,
steta iskreno...no nikad ne e kasno ako se ima zelba.
Se zadovoluvam so Simon Trpceski, pa i Vanessa Mae, tuka vi go spomnav i Maksim Mrvica slusnete go mnogu e dobar a, i Richard Clayderman prekrasen e...
evo vaka ke pocnam so Betoven posho mi e most fav:
Beethoven, Ludwig Van (1770-1827)
Of German descent, Ludwig Van Beethoven was born in 1770. It has been said that Beethoven and his music are the bridge between the Classical and the Romantic eras. Beethoven had a difficult child-hood; he was often angry and frustrated, but he also had a wit and personal charm about him. He was self-educated and rose above his tribulations to become one of the greatest composers of all time. Beethoven's music experimented with new rhythms, and he composed music based on an idea, as opposed to a full rhythm. His works were composed for quartets, concertos, symphonies, and piano sonatas. To some, Beethoven is regarded as the father of modern music.
It is often said that Beethoven's music contained his own struggles for both political and personal freedom. His defiant plea for these freedoms can be heard somewhat in his Fifth Symphony, and wholeheartedly in his Ninth Choral Symphony, and in his opera Fidelio. He put an extreme amount of emotion into all his works. Beethoven's music is recognized around the world. He composed nine symphonies and pieces such as Fur Elise, and Moonlight Sonata
The musical career of Beethoven can best be viewed in three different phases. In the first period of his musical career, he composed his First and Second Symphonies, Opus 18, six string quartets, and the first fifteen of his thirty two piano sonatas . In the second or middle stage of his career, Beethoven began to build on Classical works, bringing them to a new level of expressiveness. In this stage he composed his Third Symphony, also known as Eroica. This piece was both longer than his other two symphonies and was so dramatic and emotional that it would change the symphonic form as the musical world knew it. In his third and last stage, Beethoven was at his most creative, and he explored music further then he had ever done before. In his final piano sonatas and string quartets , Beethoven abandoned traditional form, while still keeping his own original sound. It is said that his musical defiance is due in part to his deafness which isolated him from society.
Beethoven's music remembered today for its unique quality and for its defiance. His new styles bridged the Classical and Romantic era and brought the musical world from the old into the new. Beethoven was also the first composer to ever be appreciated by the public within his own lifetime. Thanks to him, great musicians of their time would recieve the credit they were rightly due.
go imate gledano Immortal Beloved
strashno dobar film a Gary Oldman fenomenalno go glumeshe Betoven
omilena scena kaj so ja svirit "moonlight sonnata"
mene licno me ispolnuva
Inace nazad na temata jas i klasicna ne odime zaedno, jas ni lazno ni navistinski ja slusam. Ne se razbiram od ovie raboti mnogu umetnicki i klasicni :) za mene.
Evo malce istorija za klasicnata muzika.
The Classical Era
(1750-1820 C.E.)
Although the Classical Era lasted for only 70 years, there was a substantial change in the music that was being produced. Classical music placed a greater stress on clarity with regard to melodic expression and instrumental color. Although opera and vocal music (both sacred and secular) were still being written, orchestral literature was performed on a much broader basis. The orchestra gained more color and flexibility as clarinets, flutes, oboes, and bassoons became permanent members of the orchestra.
The classical style was dominated by homophony , which consisted of a single melodic line and an accompaniment. New forms of composition were developed to adapt to this style. The most important of these forms was the sonata which was in instrumental music. This form continued to change and evolve throughout the classical period, and it is important to note that the classical sonata was very different from the sonatas written by Baroque composers.
The early 1700s reflected a musical style known as Rococo. This style served as a transition from the Baroque to the Classical Era. Rococo, which developed in France, is actually an art term that described a new art style which was both a light and embellished. Musically speaking, it is refered to as style galant. In Germany, after 1750, the style galant became empfindsamer stil. With this change in name came an added element of expressiveness and sentimentality.
As classical music evolved, distinctive characteristics developed. Changes in form were seen along with changes in phrase structure. Shorter phraases and well defined cadences became more prevalent. During this time period, a favorite accompaniment pattern was the Alberti bass (name for Dominico Alberti), which featured a broken chord progression.
The melodies of the Classical era were more compact and diatonic. Harmony was less structured. It used the tonic, dominant, and subdominant chords. In addition, during this period, diatonic harmony was more common then chromatic. Composers mainly used chords in triadic form and occasionally used seventh chords in their compositions.
The four major composers of the Classical era were Haydn, Mozart, Gluck, and Beethoven. These composers wrote extensively for vocal and instrumental mediums.
Austrian born, Wolfgang Amadeus Mozart was regarded to be the greatest child prodigy the world has ever known. At age four, he heard his older sister playing a harpsichord minuet. Mozart begged his father to let him try the piece, and by ear, he played the piece perfectly. Throughout his life, tragedy struck. He was one of the most talented composers ever to walk the face of the earth, yet he led a life filled with much unhappiness.
Upon traveling to Italy, Mozart fell in love with the Italian opera. One of his most famous peras is The Escape from the Seraglio, in which the heroine was named after his wife Constanze. Although many of the people in Vienna greatly praised this opera, Mozart's patron, Emperor Joseph, was not a fan of the style. Even though Mozart had his streaks of bad luck and his family was often in debt, his marriage to Costanze held many moments of happiness. On Sunday mornings, Haydn and two other musician friends from Vienna would show up at Mozart's residence and would play string quartets. Haydn is quoted as telling Mozart's father, "I declare to you upon my honor that I consider your son the greatest composer that I have ever heard (Kaufmann, 67)."
Mozart composed many operas of which his most loved are The Marriage of Figaro, Don Giovanni, and Cosi Fan Tutte. His last opera, The Magic Flute, has charm and intelligence, even though it was written when he was sick and depressed. Ironically, during the same year that he wrote his last opera, a stranger approached Mozart and asked him to write a Requiem Mass. Although the stranger's motives and identity were unclear, Motzart began writing the Requiem Mass that was requested. When it was half finished, Mozart's sickness took a turn for the worse, and he died. The Requiem Mass would be his last composition. When he died the piece included (including Requiem Aeternam, Kyrie Eleison, Dies Irae, and Confutatis, Lacrimosa. Although he only lived to age 35, Mozart is regarded as a prominent musical genius.
evo ke klam nesco i za nego poso go respektiram
...born Zelazowa Wola, ?1 March 1810; died Paris, 17 October 1849).
The son of French #233;migr#233; father (a schoolteacher working in Poland) and a cultured Polish mother, he grew up in Warsaw, taking childhood music lessons (in Bach and the Viennese Classics) from Wojciech Zywny and J#243;sef Elsner before entering the Conservatory (1826-9). By this time he had performed in local salons and composed several rondos, polonaises and mazurkas. Public and critical acclaim increased during the years 1829-30 when he gave concerts in Vienna and Warsaw, but his despair over the political repression in Poland, coupled with his musical ambitions, led him to move to Paris in 1831. There, with practical help from Kalkbrenner and Pleyel, praise from Liszt, F#233;tis and Schumann and introductions into the highest society, he quickly established himself as a private teacher and salon performer, his legendary artist's image being enhanced by frail health (he had tuberculosis), attractive looks, sensitive playing, a courteous manner and the piquancy attaching to self-exile. Of his several romantic affairs, the most talked about was that with the novelist George Sand (Aurore Dudevant) though whether he was truly drawn to women must remain in doubt. Between 1838 and 1847 their relationship, with a strong element of the maternal on her side, coincided with one of his most productive creative periods. He gave few public concerts, though his playing was much praised, and he published much of his best music simultaneously in Paris, London and Leipzig. The breach with Sand was followed by a rapid deterioration in his health and a long visit to Britain (1848). His funeral at the Madeleine was attended by nearly 3000 people.
No great composer has devoted himself as exclusively to the piano as Chopin. By all accounts an inspired improviser, he composed while playing, writing down his thoughts only with difficulty. But he was no mere dreamer - his development can be seen as an ever more sophisticated improvisation on the classical principle of departure and return. For the concert-giving years 1828-32 he wrote brilliant virtuoso pieces (e.g. rondos) and music for piano and orchestra; the teaching side of his career is represented by the studies, preludes, nocturnes, waltzes, impromptus and mazurkas, polished pieces of moderate difficulty. The large-scale works - the later polonaises, scherzos, ballades, sonatas, the Barcarolle and the dramatic Polonaise-fantaisie - he wrote for himself and a small circle of admirers. Apart from the national feeling in the Polish dances, and possibly some narrative background to the ballades, he intended notably few references to literary, pictorial or autobiographical ideas.
Chopin is admired above all for his great originality in exploiting the piano. While his own playing style was famous for its subtlety and restraint, its exquisite delicacy in contrast with the spectacular feats of pianism then reigning in Paris, most of his works have a simple texture of accompanied melody. From this he derived endless variety, using wide-compass broken chords, the sustaining pedal and a combination of highly expressive melodies, some in inner voices. Similarly, though most of his works are basically ternary in form, they show great resource in the way the return is varied, delayed, foreshortened or extended, often with a brilliant coda added.
Chopin's harmony however was conspicuously innovatory. Through melodic clashes, ambiguous chords, delayed or surprising cadences, remote or sliding modulations (sometimes many in quick succession), unresolved dominant 7ths and occasionally excursions into pure chromaticism or modality, he pushed the accepted procedures of dissonance and key info previously unexplored territory. This profound influence can be traced alike in the music of Liszt, Wagner, Faur#233;, Debussy, Grieg, Alb#233;niz, Tchaikovsky, Rachmaninov and many others.