Can anyone identify this piece of music please.


http://www.youtube.com/watch?feature...&v=711bZ_pLusQ

In tribute to his fellow Ukrainian, Vadym Kholodenko, 26, who recently won the prestigious Van Cliburn piano competition on
9 June 2013, let me present the composer Vitaly Gubarenko.
Born 13 June 1934 in Kharkov, he would have been 79 today.

No need to doubt anymore if the Ukraine has great musical artists -
pianists, composers, orchestras and conductors.
Gubarenko has composed four symphonies, four chamber symphonies, symphonic poems, numerous operas and ballets, quartets, vocal pieces, and film music.
Sometimes his name is spelled Hubarenko instead of Gubarenko, as in the preceding link.
His Symphony No. 1 in G minor was composed 1961 and/or 1962.
It is in 4 movements and total performance time about 31'34".
It is first class all the way , with melodic appeal throughout the piece and is beautifully orchestrated.
If conductors don't know this composer, it could be the reason why he is not well known, at least outside Ukraine. If they knew him,
i think he would get more exposure.
A few parts of this symphony have hints of Shostakovich. And much of it could be used as effective film music, or in a theatrical / opera
setting.
This performance features the Ukrainian Igor Blazhkov conducting the Moscow Radio Symphony Orchestra.

[all four movements]:

We lost Laura far, far too early.
RIP: Laura Branigan

This week I've been playing the orchestral music of Brahms, including the "Academic Festival Overture", "Variations on a theme by Haydn - St. Antony Chorale" a Serenade or two and the Hungarian Dances. Showstoppers, all of them. Most of this in preparation for a lecture and these recordings are by the world's finest orchestras. In short, performances which glow in the dark.

There's nobody quite like my beloved Brahms. Nobody. The velvety, chocolate lushness and richness of his orchestrations - a simultaneous beauty and poignancy I cannot define. Underneath all that swirling elegance is a kind of clarity, with drama aplenty - and yet all the instruments of the orchestra 'talk' in one glorious voice.

Ecstasy.

I would be honoured if members could listen to a composition of mine for tenor voice, strings, flute and violin and give me some feedback. It can be found on youtube. The link is:
http://www.youtube.com/watch?v=xL1geABQWpg
It is a setting of words from Psalm 18

I'm reading sections of Rosen's "The Romantic Generation" (1995, Harvard Uni Press, Cambridge). In particular, one of the chapters about Liszt, whom I'm researching for an upcoming lecture, has drawn my eagle eye. (I've always had a problem with Rosen's sometimes polemical ideas and think that as a writer he was a damn fine concert pianist!)

Rosen says, "After 1850 Liszt's sense of material became more refined and, in later years, even austere......Many of these late piano works are experimental, foreshadowing the music of Debussy and the atonal composers of the early 20th century. They cannot have had much influence on these developments, however, since they were essentially private and little known, and the importance of Liszt to history cannot be explained by an appeal to his late style. In any case, even the best of the late works are less impressive than the music of Debussy and Schoenberg to which they appear to point"(474).

I have italicized what I think is the most egregious statement here and would like to argue an alternative:

Firstly, a composer's work does not have to be published and widely disseminated in order to be able to influence another composer. Mozart, Haydn and Beethoven all had access to manuscripts of the music of Bach even though that composer had been languishing in neglect since his death, only to be 'revived' by Mendelssohn. It is highly probable that Schoenberg and Debussy had access to Liszt's unpublished manuscripts as many of these were in private hands or in a museum after his death. In short, the REPUTATION of both Bach and Liszt through access to some of their manuscripts enabled a profound influence to be exerted on subsequent generations of composers.

Secondly, a composer does not have to create a work superior to that of successive generations in order for it to be influential. Both Schoenberg and Debussy would have studied closely those late pieces by Liszt and noted their austere, tonal fluidity and inexorable pull away from tonality itself. Not only that, Liszt already had an immense reputation as a composer and performer. Remember, too, that CPE Bach and JC Bach both stylistically influenced classical composers like Haydn and Mozart and both were considered inferior to the two latter Austrians.

Thirdly, stating that something is "less impressive" is merely a value judgment - a matter of opinion and not measurable or quantifiable.

Lastly, Rosen claims about Liszt that "recent criticism reads like an official family biography that glosses over the early life and dwells lovingly on the years of respectability"(474). Rosen fortunately lived long enough to read Alan Walker's excellent biographical trilogy of Liszt and his detailed account of every aspect of Liszt's life and body of work!!

One should read any texts about music with the perceptive eye of a researcher and with the confidence to be able to challenge the ideological assumptions. Books shouldn't tell us what to think but provide the tools to form our own judgments based on listening and experience.

I don't know if people in the music world are aware of this but in the computing world, it's big news. Disclaimer: I voted for Obama twice and with the possibilities on the Republican side so far, would again. Also, this started under George W. Bush (R) under the Patriot Act. Additionally, both sides of the isle in Congress have voted for this so it's not one side or the other. As Americans, however, I feel it's important to know how communications are being used by the government. I don't think their interested in me, I live a pretty boring life. But I like to know anyway. Any, feedback is welcome. Here is a link that explains it pretty well.

http://www.eweek.com/security/big-da...-record-sweep/

I believe we may have discussed this way back, but I would like to bring it up again because of a very recent experience. A high school nearby where I live has just built a multi-million dollar arts building complete with very nice auditorium and excellent sound system. I have no idea how much it cost but I would guess 5 million.

Ironically, in the same year that the auditorium was built, the four year college in the same town completely closed down their arts department. What is going on here?

A choice, and not a good one in my view on the part of the four year college. But I realize that the choice is not so easy. The opinion in all the non-arts literature that I've read is that the U.S. is going to need all the engineering/technical graduates they can get in the future. H1B visas are like gold. They bring technical people into the U.S. if they have a technical job here waiting on them. Larry Ellison, who is head of Oracle said that they would go out of business if they couldn't outsource to overseas. So what is the answer?

I don't know truly. I can make an argument that the arts give you a better quality of life. Something that electronics I don't believe have really done. Some would disagree with that.

The main reason I posted this is to hear what others thoughts are on this difficult subject. And remember, most of these colleges are public colleges, so you have a legitimate say in how they are run. The higher ivy schools are private.

What do you think? (This refers to the U.S.) Please chime in on how it is in Europe. I would be very interested in how it's done over in your "neck of the woods."

Dear forumers. I would like to invite you to watch and discuss several videos.

Important! Here's no even a hint on rock/pop/jazz versions etc., with no overdrive, chorus and any other effects. This is an academic music in its pure form. El. guitar just trying on the role of academic instrument (I don't know is it right term ....?).

http://www.youtube.com/watch?v=H1G1q...5&feature=plcp
http://www.youtube.com/watch?v=3jLUy...feature=relmfu
http://www.youtube.com/watch?v=UXA03...feature=relmfu
http://www.youtube.com/watch?v=T-d3-...feature=relmfu

Thanks!

I draw your attention to this brilliant new work for feline, the "Catcerto". Composed by De Pussy, do I hear you say?

Brilliant and not at all derivative!

http://www.youtube.com/watch?v=zeoT66v4EHg

So I thought this guy deserved his own thread. He seems to be rather controversial, probably because he dresses in sparklies and plays weird arrangements of pieces.


I went to youtube to check out the buzz, but I couldn't find him playing a real piece of music.


This, for example, hah, it's kind of like when some piano competition students play the piece... I mean, no, it's actually pretty sloppy. Is this from a TV show? ok, we don't judge TV show stunts.


This is a piece by Bach, sort of

I got a little distracted with all the ridiculous stops. But hey, I like that we can say, "he pulled all the stops." :lol2:


Does this guy hate the organ rep? He seems to play a bunch of piano rep on the organ for show.



Maybe he's a closet pianist and just can't hack the color and dynamics, so.. hey, let's use the organ? As a harpsichordist, I know so well: "Heh, at least I don't have to worry about crafting long dramatic crescendos on my instrument..."


I can appreciate the virtuosity of this pedalling here, but let's be honest, is this good MUSIC making? It fails to capture the sweep of the LH runs; the inability of the feet to move quickly enough bogs the whole thing down and turns it into a kind of metronomic exercise. He's trying to give it time, but..... no.

Just no.


What is THIS? it's actually worse than Yuja Wang's rendition. It's muddy, the choice of stops and colors is completely garish, worse than a Disney afternoon special, it's hard to tell what's going on in the "music" half the time; makes Yuja sound like a paragon of Taste..:lol2:




Yea, this is what youtube is telling me...

If you're going to make the organ COOL, why not introduce audiences to rep that's idiomatic for the instrument and actually play it musically?


Yeah, this guy is a personality, all right. But it DOES seem like empty showmanship, so I can see why someone called him a new Liberace. This has been a cursory investigation, but I think I've heard enough.