dsch posts again

Shostakovich - Suite for "Hamlet"
National Philharmonic Orchestra and Bernard Herrmann
Shostakovich - Suite for "Hamlet"

Shostakovich - Suite for the soviet movie “Hamlet” (1964)

National Philharmonic Orchestra
Conducted by Bernard Herrmann

(Recorded in 1974)

  • Bach: Guten (guten) Tag (tag)
  • Beethoven: Gu-guten TAAAG! Gu-guten TAAAG!
  • Brahms: *smashes wall with a piano* *waves hand* Guten Taaaag!
  • Gershwin: Good morning, sunshine!
  • Grieg: For God's sake, don't make me say that.
  • Ivor Cutler: Good morning how are you SHUT UUUUUP.
  • Mozart: Guten TaAaAaAaAaAaAaAaAaAaAaAag!
  • Mussorgsky: ...who set the moon of fire?
  • Philip Glass: Good, good, good-good, good, morning good good morning.
  • Rachmaninov: It is never a good morning.
  • Schoenberg: Guten Tag (x12)
  • Shostakovich: Dobroe (I hate Stalin) utro.
  • Strauss: *waltzes into room* Guten Tag!
  • Stravinsky: Good morning *kills off virgins* Ah, what a wonderful day
  • Tchaikovsky: DOBROE *cannons* UTRO! *more cannons* <3
Bells of Notre Dame
By Alan Menken and Stephen Schwartz. Voices of Carlo Ragoni, Eros Pagni, Franco Chillemi
Bells of Notre Dame

Bells of Notre-Dame (Italian)

Score by Alan Menken
Italian voices: Carlo Ragone (Clopin), Eros Pagni (Frollo), Franco Chillemi (Archdeacon)

It always strikes me how good Clopin’s voice (theater actor Carlo Ragone) is in the Italian rendition. As much as I like the original version (and a few in other languages), I don’t think any Clopin can equal the Italian one, whose final high D in this intro is arguably the most powerful and clear of all.

Many describe those pieces as sad or melancholic, but I like to define them as “pondering music”: it is music that describes your mental processes when, in moments of silence and solitude, you reflect on all and nothing, on life and everything about it. It is really deep, and yet you don’t carry it as a burden on your shoulders. It is, in fact, as light as thoughts.
—  Me, introducing a friend to Satie’s Gnossiennes
When Liszt first began as Kapellmeister in Weimar (1842), it astonished the orchestra that he said: ‘O please, gentlemen, a little bluer, if you please! This tone type requires it!’ Or: 'That is a deep violet, please, depend on it! Not so rose!’ First the orchestra believed Liszt just joked; more later they got accustomed to the fact that the great musician seemed to see colors there, where there were only tones.
—  Anonymous, as quoted in Friedrich Mahling, p. 230.