DATE: MONDAY WEEK 13 SEMESTER #2
AUTHOR: Igor Stravinsky
QUOTE FROM THE BOARD:
“I have learned throughout my life as a composer chiefly through my mistakes and pursuits of false assumptions, not by my exposure to founts of wisdom and knowledge.”
MEANING OF THE QUOTE:
“Wisdom and knowledge are developed through lessons learned from making mistakes.”
--------------------------------------------------------------------
DATE: TUESDAY WEEK 13 SEMESTER #2
AUTHOR: Ludwig Van Beethoven
QUOTE FROM THE BOARD:
“Everything will pass, and the world will perish but the Ninth Symphony will remain.”MEANING OF THE QUOTE:
“Good art will outlast the generations and continue to be popular.”
---------------------------------------------------------------------
DATE: WEDNESDAY WEEK 13 SEMESTER #1
AUTHOR: Max Lerner
QUOTE FROM THE BOARD:
“You may call for peace as loudly as you wish, but where there is no brotherhood there can in the end be no peace.”
MEANING OF THE QUOTE:
“Peace will only happen when man learns to accept the differences of others and come together as one.”
---------------------------------------------------------------------
DATE: THURSDAY WEEK 13 SEMESTER #1
AUTHOR: Robert Schumann
QUOTE FROM THE BOARD:
“If we were all determined to play the first violin we should never have an ensemble. Therefore, respect every musician in his proper place.”
MEANING OF THE QUOTE:
“No single person becomes successful on their own; it takes the support of others.”
----------------------------------------------------------------------
DATE: FRIDAY WEEK 13 SEMESTER #2
AUTHOR: Hector Berlioz
QUOTE FROM THE BOARD:
“Every composer knows the anguish and despair occasioned by forgetting ideas which one had no time to write down.”MEANING OF THE QUOTE:
“Artistic inspiration is fleeting (passing quickly) and unexpected.”
----------------------------------------------------------------------
Saturday, April 30, 2011
Tuesday, April 26, 2011
BEETHOVEN SYMPHONY #5
.gif)
THERE ARE MANY VERSIONS
OF BEETHOVEN'S 5TH SYMPHONY.
HERE ARE SOME INTERESTING ONES I FOUND:
Beethoven: Symphony No. 5
HERE ARE SOME INTERESTING ONES I FOUND:
Beethoven: Symphony No. 5
Fantasia 2000 -
L. V. Beethoven "Symphony No.5/1"http://www.youtube.com/watch?v=a3pdO-Y5ZKU
Beethoven 5th Symphony
(No. 5, graphical score animation, allegro)http://www.youtube.com/watch?v=rRgXUFnfKIY
Liszt transcription of
Beethoven Symphony No. 5 op.67
Glenn Gould plays - part 1http://www.youtube.com/watch?v=RjF3-fUfX3E&feature=related
Apocalyptica -
Beethoven's Symphony No.5
(Rock In Rio 2008)http://www.youtube.com/watch?v=jI4rcxHDANM
Beethoven symphony no 5
rock sori1004jyhttp://www.youtube.com/watch?v=jxV4ZxjVmWY
Beethoven's Fifth, Symphony No. 5
(Player Piano)http://fliiby.com/file/379557/3u9r5pqfya.html
Glass Harp Music
Symphony N°5 Beethovenhttp://www.vidoemo.com/yvideo.php?glass-harp-music-symphony-na5-beethoven=&i=Ui1DV0NFcWuRpSlBxNHc
Rockin' Beethoven
(5th Symphony, 1st Mov)http://www.youtube.com/watch?v=mou_UfB1jtQ&feature=related
Beethoven: Symphony Number 5 Guided Tour
"This is a Guided Tour of Beethoven's 5th Symphony via explanatory subtitles. This symphony, conducted here by Toscanini, is in four sections, called movements. The first movement, in this video, is fast and is in sonata form. Sonata form means that it comes in four sections: an Exposition, where the main themes of the movement are laid out, a Development where those themes are broken down and played with, a Recapitulation where the themes return and a Coda, where everything comes to a close. These moments and other musical highlights will be pointed out by the subtitle track."
BEETHOVEN SYMPHONY #7 (FIELD TRIP SELECTION)
TO VIEW THE ENTIRE BEETHOVEN SYMPHONY #7 CLICK ON THIS LINK:
FIRST MOVEMENThttp://www.youtube.com/watch?v=s1qAWcd4rr0&feature=PlayList&p=EFC42CE2577EE216&playnext=1&playnext_from=PL&index=11
SECOND MOVEMENT
http://www.youtube.com/watch?v=4uOxOgm5jQ4
THIRD MOVEMENT
http://www.youtube.com/watch?v=Td3mRRne39I&feature=PlayList&p=EFC42CE2577EE216&playnext=1&playnext_from=PL&index=13
About The Piece
Beethoven's Symphony #7
Composed: 1811-1812
Length: c. 35 minutes
Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings
First Los Angeles Philharmonic performance: April 1, 1921, Walter Henry Rothwell conducting
“It is a composition in which the author has indulged in a great deal of disagreeable eccentricity. Often as we now have heard it performed, we cannot yet discover any design in it, neither can we trace any connection in its parts. Altogether, it seems to have been intended as a kind of enigma – we almost said a hoax.”
So wrote a critic in London’s influential Harmonicon in July of 1825, a full 13 years after Beethoven’s Seventh Symphony was introduced in Vienna. While that concert, which also featured the first performance of the bellicose Wellington’s Victory, was enthusiastically received by the public – the Wiener Zeitung reported that “...the applause rose to the point of ecstasy” – the A-major Symphony was savagely assailed by virtually all of the critics, including Carl Maria von Weber, who dismissed it as the work of a madman. Ironically enough, this giddy, impetuous swirl of motion, which Wagner in a famous pronouncement called the “Apotheosis of the Dance,” was written during one of the darkest and most difficult periods in the composer’s life.
By the summer of 1812, when the work was taking its final form, the French army had invaded Russia, thus launching the most savage phase of the Napoleonic Wars. Amid the universal turmoil, Beethoven was suffering innumerable shocks within his own silent hell. This was the period of those ardent, pathetically hopeful letters to “The Immortal Beloved,” the great unrequited love of his life. It was also a time when the illness which had destroyed his hearing began manifesting itself through other disturbing symptoms: the constant, excruciating intestinal pain, and the first signs of the serious liver disorder that would eventually kill him.
Except in its heart-rending second movement, the ebullient, life-affirming A-major Symphony shows no signs of either the social chaos or the private agony that surrounded its composition. Following the lengthiest of Beethoven’s symphonic introductions – in which a pair of simple, unadorned musical ideas are developed at majestic length – the first movement proper, marked Vivace, is announced by some chirping woodwinds who expand a bare but insistent rhythmic figure into light and graceful dance. While the movement reminded Hector Berlioz of a peasant round, the music is far too complex and refined for such a description – unless the peasants happened to be members of the Kirov corps de ballet. After a development section in which the irresistible power of the dance figure nearly threatens to destroy the formal bonds which contain it, an even more uninhibited coda, over a droning five-note figure that rumbles out of the depths of the orchestra, brings the movement to its exultant close.
The essentially rhythmic organization of the Symphony is evident even in the melancholy second movement, marked Allegretto. After a somber woodwind chord, the lower strings present the hushed, march-like pulse from which the entire movement will grow. Fugal countermelodies in the violas and cellos are woven around the principal subject, which eventually gives way to a second, flowing melody in the clarinets and bassoons. A mysterious passage rises to a tremendous climax, after which fragments of the principal theme rustle like leaves in the various sections of the orchestra.
The slapdash Scherzo is among the most impetuous and light-hearted symphonic movements that Beethoven ever wrote. The Presto section is buoyant, witty, and full of colorful, explosive contrasts. The Trio is built on an alternately tender and noble melody for the clarinets, bassoons, and horns, which ends with a sleepy string figure bearing a striking resemblance to the tune of “Good Night, Ladies.” Both sections of the movement are repeated with minor variations, although when the Trio attempts to return for a third and final time, it is rudely cut off by five impatient staccato chords.
The whirlwind Finale, marked Allegro con brio, is a frenetic, uninhibited dance in which one furious climax follows another in a welter of moiling, though perfectly controlled and unfailingly good-natured, commotion.
http://www.laphil.com/philpedia/piece-detail.cfm?id=9
Notes on Beethoven's Seventh Symphony
by Christopher H. Gibbs
June 11, 2006 - By the mid 1810s Beethoven was recognized far and wide as the preeminent living composer. That did not mean, however, that he was the most popular, published, or often performed. Rossini was emerging as a new force in the musical world, and his prominence extended far beyond the opera house; arrangements for every conceivable combination of instruments took his music into home, café, and concert hall. Beethoven's imposing historical stature can obscure our appreciation of how in his own time he sought to juggle fame, popularity, and artistic innovations.
Greatness and Popularity
Many of what are today considered Beethoven's most highly esteemed compositions, especially ones from late in his career, were initially received with a complex mixture of admiration, bewilderment, and resistance. But there were also works that were truly popular or at least aimed to be so. These pieces tend to be much less familiar today than when they were the favorites of his contemporaries: Wellington's Victory, the oratorio Christ on the Mount of Olives, the Septet, and his best-loved song, "Adelaide." Occasionally, Beethoven wrote something that was immediately recognized as both artistically great and hugely popular. An example is the second movement of his Seventh Symphony, a piece that was often performed separately from the complete Symphony and that may have been Beethoven's most popular orchestral composition. It also exerted extraordinary influence on later composers, as the slow movements of Schubert's "Great" C-major Symphony and E-flat Piano Trio, Mendelssohn's "Italian" Symphony, Berlioz's Harold in Italy, and other works attest.
After its premiere, the Seventh Symphony was repeated three times in the following 10weeks; at one of the performances the "applause rose to the point of ecstasy," according to a newspaper account. The Leipzig Allgemeine musikalische Zeitung reported that "the new symphony (A major) was received with so much applause, again. The reception was as animated as at the first time; the Andante [sic] (A minor), the crown of modern instrumental music, as at the first performance, had to be repeated." The Symphony's appeal is not hard to understand. In scope and intensity, it is fully Beethovenian, and yet it does not place quite as many demands on the listener as does the "Eroica." The ambition of the first movement, beauty of the second, the breathlessness of the scherzo, and relentless energy of the finale did not fail to impress audiences. Beethoven himself called it "one of the happiest products of my poor talents."
Celebrating Victory
Beethoven wrote the Symphony in 1811-12, completing it in April. It was premiered at one of his most successful concerts, given on December 8, 1813, to benefit soldiers wounded in the battle of Hanau a few months earlier. Paired with the Seventh was the first performance of Wellington's Victory, also known as the "Battle Symphony." The enjoyment of the event was hardly surprising given what most members of the Viennese audience had been through during the preceding decade. Napoleon's occupations of Vienna in 1805 and 1809 had proven traumatic, but the tide had turned with the Battle of Leipzig in 1813. In June, the Duke of Wellington was triumphant against Joseph Bonaparte, Napoleon's younger brother, in the northern Spanish town of Vittoria, and within the year the Congress of Vienna was convened to reapportion Europe in the aftermath of France's defeat. After so much conflict and misery, impending victory could be honored and celebrated.
Later writers characterized the Seventh Symphony in various ways, but it is striking how many of the descriptions touch on its frenzy, approaching a bacchanal at times, and on its elements of dance. Richard Wagner's poetic account is well known: "All tumult, all yearning and storming of the heart, become here the blissful insolence of joy, which carries us away with bacchanalian power through the roomy space of nature, through all the streams and seas of life, shouting in glad self-consciousness as we sound throughout the universe the daring strains of this human sphere-dance. The Symphony is the Apotheosis of the Dance itself: it is Dance in its highest aspect, the loftiest deed of bodily motion, incorporated into an ideal mold of tone."
As biographer Maynard Solomon has keenly observed, the descriptions of Wagner and others seem to have a common theme: "The apparently diverse free-associational images of these critics—of masses of people, of powerful rhythmic energy discharged in action or in dance, of celebrations, weddings, and revelry—may well be variations on a single image: the carnival or festival, which from time immemorial has temporarily lifted the burden of perpetual subjugation to the prevailing social and natural order by periodically suspending all customary privileges, norms, and imperatives." Wellington's Victory gave a realistic imitation of battle between the English (represented by the song "Rule Britannia") and the French ("Marlborough s’en va-t’en guerre") and ends victoriously with variations on "God Save the King"—it is an effective but hardly subtle work. The Seventh apparently tapped into similar celebratory emotions vivid at the moment, but on a much deeper level that has allowed the Symphony to retain its stature ever since.
A Closer Look
The Symphony's dance elements, vitality, and sense of celebration are conveyed principally through rhythm. It is not the melodies that are so striking and memorable as the general sense of forward movement. (At times there is no melody at all, but simply the repetition of a single pitch.) The first movement (Poco sostenuto) opens with the longest of Beethoven's introductions—indeed the longest yet in the history of the symphony, that leads (by way of repeating just one note) into the main body of the movement (Vivace). The famous A-minor Allegretto is framed by the same unstable chord to open and close the movement. The form is ABABA with the opening section using a theme that is once again more distinctive for its rhythmic profile than for its melody. The movement builds in intensity and includes a fugue near the end.
The Presto scherzo brings out the dance aspect even more. As in some of his other instrumental works, Beethoven includes two trio sections. The Allegro con brio finale offers a tour-de-force of energy and excitement. As throughout the Symphony, part of the distinctive sound comes from Beethoven's use of the horns. The work is in A-major, which gives a brightness not found in the composer's earlier symphonies.
http://www.npr.org/templates/story/story.php?storyId=5481664
June 11, 2006 - By the mid 1810s Beethoven was recognized far and wide as the preeminent living composer. That did not mean, however, that he was the most popular, published, or often performed. Rossini was emerging as a new force in the musical world, and his prominence extended far beyond the opera house; arrangements for every conceivable combination of instruments took his music into home, café, and concert hall. Beethoven's imposing historical stature can obscure our appreciation of how in his own time he sought to juggle fame, popularity, and artistic innovations.
Greatness and Popularity
Many of what are today considered Beethoven's most highly esteemed compositions, especially ones from late in his career, were initially received with a complex mixture of admiration, bewilderment, and resistance. But there were also works that were truly popular or at least aimed to be so. These pieces tend to be much less familiar today than when they were the favorites of his contemporaries: Wellington's Victory, the oratorio Christ on the Mount of Olives, the Septet, and his best-loved song, "Adelaide." Occasionally, Beethoven wrote something that was immediately recognized as both artistically great and hugely popular. An example is the second movement of his Seventh Symphony, a piece that was often performed separately from the complete Symphony and that may have been Beethoven's most popular orchestral composition. It also exerted extraordinary influence on later composers, as the slow movements of Schubert's "Great" C-major Symphony and E-flat Piano Trio, Mendelssohn's "Italian" Symphony, Berlioz's Harold in Italy, and other works attest.
After its premiere, the Seventh Symphony was repeated three times in the following 10weeks; at one of the performances the "applause rose to the point of ecstasy," according to a newspaper account. The Leipzig Allgemeine musikalische Zeitung reported that "the new symphony (A major) was received with so much applause, again. The reception was as animated as at the first time; the Andante [sic] (A minor), the crown of modern instrumental music, as at the first performance, had to be repeated." The Symphony's appeal is not hard to understand. In scope and intensity, it is fully Beethovenian, and yet it does not place quite as many demands on the listener as does the "Eroica." The ambition of the first movement, beauty of the second, the breathlessness of the scherzo, and relentless energy of the finale did not fail to impress audiences. Beethoven himself called it "one of the happiest products of my poor talents."
Celebrating Victory
Beethoven wrote the Symphony in 1811-12, completing it in April. It was premiered at one of his most successful concerts, given on December 8, 1813, to benefit soldiers wounded in the battle of Hanau a few months earlier. Paired with the Seventh was the first performance of Wellington's Victory, also known as the "Battle Symphony." The enjoyment of the event was hardly surprising given what most members of the Viennese audience had been through during the preceding decade. Napoleon's occupations of Vienna in 1805 and 1809 had proven traumatic, but the tide had turned with the Battle of Leipzig in 1813. In June, the Duke of Wellington was triumphant against Joseph Bonaparte, Napoleon's younger brother, in the northern Spanish town of Vittoria, and within the year the Congress of Vienna was convened to reapportion Europe in the aftermath of France's defeat. After so much conflict and misery, impending victory could be honored and celebrated.
Later writers characterized the Seventh Symphony in various ways, but it is striking how many of the descriptions touch on its frenzy, approaching a bacchanal at times, and on its elements of dance. Richard Wagner's poetic account is well known: "All tumult, all yearning and storming of the heart, become here the blissful insolence of joy, which carries us away with bacchanalian power through the roomy space of nature, through all the streams and seas of life, shouting in glad self-consciousness as we sound throughout the universe the daring strains of this human sphere-dance. The Symphony is the Apotheosis of the Dance itself: it is Dance in its highest aspect, the loftiest deed of bodily motion, incorporated into an ideal mold of tone."
As biographer Maynard Solomon has keenly observed, the descriptions of Wagner and others seem to have a common theme: "The apparently diverse free-associational images of these critics—of masses of people, of powerful rhythmic energy discharged in action or in dance, of celebrations, weddings, and revelry—may well be variations on a single image: the carnival or festival, which from time immemorial has temporarily lifted the burden of perpetual subjugation to the prevailing social and natural order by periodically suspending all customary privileges, norms, and imperatives." Wellington's Victory gave a realistic imitation of battle between the English (represented by the song "Rule Britannia") and the French ("Marlborough s’en va-t’en guerre") and ends victoriously with variations on "God Save the King"—it is an effective but hardly subtle work. The Seventh apparently tapped into similar celebratory emotions vivid at the moment, but on a much deeper level that has allowed the Symphony to retain its stature ever since.
A Closer Look
The Symphony's dance elements, vitality, and sense of celebration are conveyed principally through rhythm. It is not the melodies that are so striking and memorable as the general sense of forward movement. (At times there is no melody at all, but simply the repetition of a single pitch.) The first movement (Poco sostenuto) opens with the longest of Beethoven's introductions—indeed the longest yet in the history of the symphony, that leads (by way of repeating just one note) into the main body of the movement (Vivace). The famous A-minor Allegretto is framed by the same unstable chord to open and close the movement. The form is ABABA with the opening section using a theme that is once again more distinctive for its rhythmic profile than for its melody. The movement builds in intensity and includes a fugue near the end.
The Presto scherzo brings out the dance aspect even more. As in some of his other instrumental works, Beethoven includes two trio sections. The Allegro con brio finale offers a tour-de-force of energy and excitement. As throughout the Symphony, part of the distinctive sound comes from Beethoven's use of the horns. The work is in A-major, which gives a brightness not found in the composer's earlier symphonies.
http://www.npr.org/templates/story/story.php?storyId=5481664
FREE AUDIO VERSION
Beethoven’s Symphony No. 7 was completed in 1812 and conducted its premier on December 8, 1813 in the University of Vienna. Beethoven’s Symphony No. 7 is widely viewed as a symphony of dance, where as, Wagner described it as “the apotheosis of the dance.” Its highly enjoyable, haunting 2nd movement was often most encored.
http://classicalmusic.about.com/od/onestopbeethoven/a/beethovensympho.htm
BEETHOVEN: MODERN RENDITIONS
HAPPY BIRTHDAY VARIATIONS
BASED ON SOME FAMOUS PIECES BY BEETHOVEN
Happy Birthday Dear Ludwig
Variations in The Style of Beethoven
Leonid Hambro (1970)
BEETHOVEN QUOTES
“I despise a world which does not feel that music is a higher revelation than all wisdom and philosophy”
“Music should strike fire from the heart of man, and bring tears from the eyes of woman.”
“Then let us all do what is right, strive with all our might toward the unattainable, develop as fully as we can the gifts God has given us, and never stop learning”
“Nothing is more intolerable than to have to admit to yourself your own errors”
“What you are, you are by accident of birth; what I am, I am by myself. There are and will be a thousand princes; there is only one Beethoven.”
“Music is the one incorporeal entrance into the higher world of knowledge which comprehends mankind but which mankind cannot comprehend.”
“Tones sound, and roar and storm about me until I have set them down in notes.”
“Applaud friends, the comedy is over. (Said as he was dying)”
“No friend have I. I must live by myself alone; but I know well that God is nearer to me than others in my art, so I will walk fearlessly with Him.”
“Music is the wine which inspires one to new generative processes, and I am Bacchus who presses out this glorious wine for mankind and makes them spiritually drunken.”
“This is the mark of a really admirable man: steadfastness in the face of trouble.”
“Beethoven can write music, thank God, but he can do nothing else on earth.”
“Off with you! You're a happy fellow, for you'll give happiness and joy to many other people. There is nothing better or greater than that!”
“No one should drive a hard bargain with an artist.”
“A great poet is the most precious jewel of a nation.”
“Recommend virtue to your children, that alone - not wealth - can give happiness. It upholds in adversity and the thought of it and my art prevents me from putting an end to my life.”
“Art! Who comprehends her? With whom can one consult concerning this great goddess?”
“The barriers are not erected which can say to aspiring talents and industry, 'Thus far and no farther.'”
“My misfortune is doubly painful to me because it will result in my being misunderstood. For me there can be no recreation in the company of others, no intelligent conversation, no exchange of information with peers; only the most pressing needs can make me venture into society. I am obliged to live like an outcast.”
http://thinkexist.com/quotes/ludwig_van_beethoven/2.html
"Then let us all do what is right, strive with all our might toward the unattainable, develop as fully as we can the gifts God has given us, and never stop learning"
"It is my wish that you may have at better and freer life than I have had. Recommend virtue to your children; it alone, not money, can make them happy. I speak from experience; this was what upheld me in time of misery."
"I shall seize fate by the throat; it will never bend me completely to its will."
http://www.goodreads.com/author/quotes/40589.Ludwig_van_Beethoven
"Music should strike fire from the heart of man, and bring tears from the eyes of woman."
"Music, verily, is the mediator between intellectual and sensuous life... the one incorporeal entrance into the higher world of knowledge which comprehends mankind but which mankind cannot comprehend," in a letter to Goethe
"Music is a higher revelation than all wisdom and philosophy. It is the wine of a new procreation, and I am Bacchus who presses out this glorious wine for mankind and makes them spiritually drunk."
"I always have a picture in my mind when composing, and follow its lines."
"Tones sound and roar and storm about me until I have set them down in notes."
"I never write a work continuously, without interruption. I am always working on several at the same time, taking up one, then another."
"I am not in the habit of rewriting my compositions. I never did it because I am profoundly convinced that every change of detail changes the character of the whole."
"Beethoven can write music, thank God, but he can do nothing else on earth."
"I have never thought of writing for renown and glory. What I have in my heart must out; that is why I write."
On his deafness:
"How great was the humiliation when one who stood beside me heard the distant sound of a shepherd's pipe, and I heard nothing; or heard the shepherd singing, and I heard nothing. Such experiences brought me to the verge of despair;--but little more and I should have put an end to my life. Art, art alone deterred me."
"I shall seize Fate by the throat; it shall certainly not bend and crush me completely."
"No friend have I. I must live by myself alone; but I know well that God is nearer to me than others in my art, so I will walk fearlessly with Him."
"What you are, you are by accident of birth; what I am, I am by myself. There are and will be a thousand princes; there is only one Beethoven."
Beethoven Quotes by Others
"I believe in God, Mozart, and Beethoven." - Richard Wagner
"Everything will pass, and the world will perish but the Ninth Symphony will remain." - Michael Bakunin
"If anyone has conducted a Beethoven performance, and then doesn't have to go to an osteopath, then there's something wrong. - Sir Simon Rattle, conductor
"What can you do with it? It's like a lot of yaks jumping about." - Conductor Thomas Beecham, on Beethoven's 7th Symphony
http://www.favorite-classical-composers.com/beethoven-quotes.html#axzz1JbiW2DmP
“Music should strike fire from the heart of man, and bring tears from the eyes of woman.”
“Then let us all do what is right, strive with all our might toward the unattainable, develop as fully as we can the gifts God has given us, and never stop learning”
“Nothing is more intolerable than to have to admit to yourself your own errors”
“What you are, you are by accident of birth; what I am, I am by myself. There are and will be a thousand princes; there is only one Beethoven.”
“Music is the one incorporeal entrance into the higher world of knowledge which comprehends mankind but which mankind cannot comprehend.”
“Tones sound, and roar and storm about me until I have set them down in notes.”
“Applaud friends, the comedy is over. (Said as he was dying)”
“No friend have I. I must live by myself alone; but I know well that God is nearer to me than others in my art, so I will walk fearlessly with Him.”
“Music is the wine which inspires one to new generative processes, and I am Bacchus who presses out this glorious wine for mankind and makes them spiritually drunken.”
“This is the mark of a really admirable man: steadfastness in the face of trouble.”
“Beethoven can write music, thank God, but he can do nothing else on earth.”
“Off with you! You're a happy fellow, for you'll give happiness and joy to many other people. There is nothing better or greater than that!”
“No one should drive a hard bargain with an artist.”
“A great poet is the most precious jewel of a nation.”
“Recommend virtue to your children, that alone - not wealth - can give happiness. It upholds in adversity and the thought of it and my art prevents me from putting an end to my life.”
“Art! Who comprehends her? With whom can one consult concerning this great goddess?”
“The barriers are not erected which can say to aspiring talents and industry, 'Thus far and no farther.'”
“My misfortune is doubly painful to me because it will result in my being misunderstood. For me there can be no recreation in the company of others, no intelligent conversation, no exchange of information with peers; only the most pressing needs can make me venture into society. I am obliged to live like an outcast.”
http://thinkexist.com/quotes/ludwig_van_beethoven/2.html
"Then let us all do what is right, strive with all our might toward the unattainable, develop as fully as we can the gifts God has given us, and never stop learning"
"It is my wish that you may have at better and freer life than I have had. Recommend virtue to your children; it alone, not money, can make them happy. I speak from experience; this was what upheld me in time of misery."
"I shall seize fate by the throat; it will never bend me completely to its will."
http://www.goodreads.com/author/quotes/40589.Ludwig_van_Beethoven
"Music should strike fire from the heart of man, and bring tears from the eyes of woman."
"Music, verily, is the mediator between intellectual and sensuous life... the one incorporeal entrance into the higher world of knowledge which comprehends mankind but which mankind cannot comprehend," in a letter to Goethe
"Music is a higher revelation than all wisdom and philosophy. It is the wine of a new procreation, and I am Bacchus who presses out this glorious wine for mankind and makes them spiritually drunk."
"I always have a picture in my mind when composing, and follow its lines."
"Tones sound and roar and storm about me until I have set them down in notes."
"I never write a work continuously, without interruption. I am always working on several at the same time, taking up one, then another."
"I am not in the habit of rewriting my compositions. I never did it because I am profoundly convinced that every change of detail changes the character of the whole."
"Beethoven can write music, thank God, but he can do nothing else on earth."
"I have never thought of writing for renown and glory. What I have in my heart must out; that is why I write."
On his deafness:
"How great was the humiliation when one who stood beside me heard the distant sound of a shepherd's pipe, and I heard nothing; or heard the shepherd singing, and I heard nothing. Such experiences brought me to the verge of despair;--but little more and I should have put an end to my life. Art, art alone deterred me."
"I shall seize Fate by the throat; it shall certainly not bend and crush me completely."
"No friend have I. I must live by myself alone; but I know well that God is nearer to me than others in my art, so I will walk fearlessly with Him."
"What you are, you are by accident of birth; what I am, I am by myself. There are and will be a thousand princes; there is only one Beethoven."
Beethoven Quotes by Others
"I believe in God, Mozart, and Beethoven." - Richard Wagner
"Everything will pass, and the world will perish but the Ninth Symphony will remain." - Michael Bakunin
"If anyone has conducted a Beethoven performance, and then doesn't have to go to an osteopath, then there's something wrong. - Sir Simon Rattle, conductor
"What can you do with it? It's like a lot of yaks jumping about." - Conductor Thomas Beecham, on Beethoven's 7th Symphony
http://www.favorite-classical-composers.com/beethoven-quotes.html#axzz1JbiW2DmP
Sunday, April 24, 2011
BORROWED MELODIES or PLAGERISM?
Music plagiarism is the use or close imitation of another author's music while representing it as one's own original work. Plagiarism in music now occurs in two contexts – with a musical idea (that is, a melody or motif) or sampling (taking a portion of one sound recording and reusing it in a different song).
FAMOUS INFRIGEMENT PLAGIARISM CASE IN MUSIC
http://www.fairwagelawyers.com/most-famous-music-copyright-infringment.html
FAMOUS INFRIGEMENT PLAGIARISM CASE IN MUSIC
http://www.fairwagelawyers.com/most-famous-music-copyright-infringment.html
George Harrison vs Bright Tunes Music Corp.
George Harrison’s ‘My Sweet Lord’ was released January 15, 1971 and hit the charts on January 23, 1971 as George Harrison’s first solo single. It was released under the Apple label and enjoyed the number one spot originally for five weeks, then in 2002, again for one week. It remained on the charts for a total of twenty-seven weeks. All of this is the good news. The not so good news involves a song called “He’s So Fine” recorded by the Chiffons in 1962 and then moved under the Bright Tunes Music Corp label in 1971. The Chiffon’s song did well in the United States and received a luke warm reception in the UK.
February 10th, 1971, Bright Tunes filed a suit against George Harrison inclusive of his English and American companies. The suite also included Apple Records, BMI and Hansen Publications. Though an out of court settlement was approached, including an offer of 148,000.00, but it never reached fruition before the court case proceeded, as the attorneys for Bright Tunes Music Corp. wanted seventy-five percent of the royalties and the surrendering of the copyright for My Sweet Lord.
The case waited to be heard for five years, during which time George Harrison’s attorneys continued to try to settle out of court. The case was heard in court for the first time, in February of 1976, George Harrison’s attorneys tried to prove out the difference between the two songs, but with little success. The judge found that though he didn’t believe George Harrison purposefully plagiarized the song, the two songs were essentially the same, only displaying minor differences to note and chord. George Harrison was found guilty of ‘subconscious plagiarism’ and a judgment was filed against him
in the amount of $587,000.00 of which the full amount was paid and the judgment dismissed in 1981.
Some Other Cases:
In March 1963, The Beach Boys released "Surfin' USA". Chuck Berry's music publisher Arc Music sued over what was a note-for-note cover of Berry's "Sweet Little Sixteen", and was eventually granted co-writing credit for Berry, and royalties from the record.[6][7]
In autumn 1984 and throughout 1985, Huey Lewis sued Ray Parker, Jr. for plagiarism, citing that Parker stole the melody of the song "Ghostbusters" (the theme from the movie of the same name), from Lewis's 1983 song "I Want A New Drug". Lewis dropped the lawsuit after the two parties settled out-of-court in 1995.
[DISCLAIMER: THESE VIDEOS CONTAIN VERY SHORT EXAMPLES OF MUSIC TAKEN FROM MODERN POPULAR MUSIC, INCLUDING LYRICS (WHICH MAY BE CONTROVERSIAL TO SOME), USED FOR THE SAKE OF COMPARISON.]
SOUND-A-LIKE SONGS PART 1
In autumn 1984 and throughout 1985, Huey Lewis sued Ray Parker, Jr. for plagiarism, citing that Parker stole the melody of the song "Ghostbusters" (the theme from the movie of the same name), from Lewis's 1983 song "I Want A New Drug". Lewis dropped the lawsuit after the two parties settled out-of-court in 1995.
[DISCLAIMER: THESE VIDEOS CONTAIN VERY SHORT EXAMPLES OF MUSIC TAKEN FROM MODERN POPULAR MUSIC, INCLUDING LYRICS (WHICH MAY BE CONTROVERSIAL TO SOME), USED FOR THE SAKE OF COMPARISON.]
SOUND-A-LIKE SONGS PART 1
SOUND-A-LIKE SONGS PART 2
THE MOST STOLEN SONG IN HISTORY?
SIMILARITIES IN SONGS PART 1
SIMILARITIES IN SONG PART 2
SIMILARITIES IN SONGS PART 3
SIMILARITIES IN SONGS PART 4
Saturday, April 23, 2011
QUOTE OF THE DAY WEEK #12 Semester #2
DATE: MONDAY WEEK 12 SEMESTER #2
AUTHOR: Richard Wagner
QUOTE FROM THE BOARD:
“One supreme fact which I have discovered is that it is not willpower, but fantasy-imagination that creates. Imagination is the creative force. Imagination creates reality. ”
MEANING OF THE QUOTE:
"Creativity starts first in your imagination."
-----------------------------------------------------------------------------
DATE: TUESDAY WEEK 12 SEMESTER #2
AUTHOR: Giacomo Puccini
QUOTE FROM THE BOARD:
“Art is a kind of illness.”
MEANING OF THE QUOTE:
“A true artist is addicted to his art.”
-------------------------------------------------------------------------------
DATE: WEDNESDAY WEEK 12 SEMESTER #1
AUTHOR: Gioacchino Rossini
QUOTE FROM THE BOARD:
“Answer them [critics] with silence and indifference. It works better, I assure you, than anger and argument.”
MEANING OF THE QUOTE:
“Do not let critics stop you from creating your art. Ignore their negative comments if the comments are not constructive ones.”
-------------------------------------------------------------------------------
DATE: THURSDAY WEEK 12 SEMESTER #2
AUTHOR: Franz Schubert
QUOTE FROM THE BOARD:
“When I wished to sing of love, it turned to sorrow. And when I wished to sing of sorrow, it was transformed for me into love.”
MEANING OF THE QUOTE:
“Our emotions come out in our music. Many of these emotions are closely related.”
------------------------------------------------------------------------------
DATE: FRIDAY WEEK 12 SEMESTER #2
AUTHOR: Edgard Varese
QUOTE FROM THE BOARD:
“An artist is never ahead of his time but most people are far behind theirs.”
MEANING OF THE QUOTE:
“Sometimes artists create art which is not understood by the general public.”
------------------------------------------------------------------------------
AUTHOR: Richard Wagner
QUOTE FROM THE BOARD:
“One supreme fact which I have discovered is that it is not willpower, but fantasy-imagination that creates. Imagination is the creative force. Imagination creates reality. ”
MEANING OF THE QUOTE:
"Creativity starts first in your imagination."
-----------------------------------------------------------------------------
DATE: TUESDAY WEEK 12 SEMESTER #2
AUTHOR: Giacomo Puccini
QUOTE FROM THE BOARD:
“Art is a kind of illness.”
MEANING OF THE QUOTE:
“A true artist is addicted to his art.”
-------------------------------------------------------------------------------
DATE: WEDNESDAY WEEK 12 SEMESTER #1
AUTHOR: Gioacchino Rossini
QUOTE FROM THE BOARD:
“Answer them [critics] with silence and indifference. It works better, I assure you, than anger and argument.”
MEANING OF THE QUOTE:
“Do not let critics stop you from creating your art. Ignore their negative comments if the comments are not constructive ones.”
-------------------------------------------------------------------------------
DATE: THURSDAY WEEK 12 SEMESTER #2
AUTHOR: Franz Schubert
QUOTE FROM THE BOARD:
“When I wished to sing of love, it turned to sorrow. And when I wished to sing of sorrow, it was transformed for me into love.”
MEANING OF THE QUOTE:
“Our emotions come out in our music. Many of these emotions are closely related.”
------------------------------------------------------------------------------
DATE: FRIDAY WEEK 12 SEMESTER #2
AUTHOR: Edgard Varese
QUOTE FROM THE BOARD:
“An artist is never ahead of his time but most people are far behind theirs.”
MEANING OF THE QUOTE:
“Sometimes artists create art which is not understood by the general public.”
------------------------------------------------------------------------------
Monday, April 11, 2011
QUOTE OF THE DAY: WEEK #11 Semester #2
DATE: MONDAY WEEK 11 SEMESTER #2
AUTHOR: Carl Philipp Emanuel BachQUOTE FROM THE BOARD:
A musician cannot move others unless he too is moved. He must of necessity feel all of the affects that he hopes to arouse in his audience, for the revealing of his own humor will stimulate a like humor in the listener.”
MEANING OF THE QUOTE:
“If the composer does not feel the music inside himself first he can not convey those feelings to the audience through his music.”
------------------------------------------------------------------------------
DATE: TUESDAY WEEK 11 SEMESTER #2
AUTHOR: Dave Brubeck
QUOTE FROM THE BOARD:
“I'm beginning to understand myself. But it would have been great to be able to understand myself when I was 20 rather than when I was 82.”
MEANING OF THE QUOTE:
“It takes a lifetime just to start understanding yourself.”
-----------------------------------------------------------------------------
DATE: WEDNESDAY WEEK 11 SEMESTER #2
AUTHOR: John Cage
QUOTE FROM THE BOARD:
“If something is boring after two minutes, try it for four. If still boring, then eight. Then sixteen, then thirty-two. Eventually one discovers that it is not boring at all.”
MEANING OF THE QUOTE:
“Repetition helps to create interest. The more you are acquainted with a subject the more you are apt to enjoy it.”
----------------------------------------------------------------------------
DATE: THURSDAY WEEK 11 SEMESTER #2
AUTHOR: Oscar Levant
QUOTE FROM THE BOARD:
“It's not what you are, but what you don't become that hurts.”
MEANING OF THE QUOTE:
“Not working up to and using your abilities to their fullest potential will stop you from feeling content with your progress.”
-----------------------------------------------------------------------------
DATE: FRIDAY WEEK 11 SEMESTER #2
AUTHOR: Giuseppe Verdi
QUOTE FROM THE BOARD:
"I adore art...when I am alone with my notes, my heart pounds and the tears stream from my eyes, and my emotion and my joys are too much to bare. ”
MEANING OF THE QUOTE:
“The emotion and joy felt from the act of creating art is totally fulfilling.”
-----------------------------------------------------------------------------
Friday, April 1, 2011
QUOTE OF THE DAY-WEEK #10 Semester #2
DATE: MONDAY WEEK 10 SEMESTER #2
AUTHOR: Leonard Bernstein
QUOTE FROM THE BOARD:
“Any great work of art... revives and readapts time and space, and the measure of its success is the extent to which it makes you an inhabitant of that world - the extent to which it invites you in and lets you breathe its strange, special air.”
MEANING OF THE QUOTE:
“A great piece of music can transport your imagination back in time, ahead in the future, make you laugh or cry, and send you to exotic places.”
-----------------------------------------------------------------------------
DATE: TUESDAY WEEK 10 SEMESTER #2
AUTHOR: Irving Berlin
QUOTE FROM THE BOARD:
“Talent is only the starting point.”
MEANING OF THE QUOTE:
“Talent will only be of use if you combine it with hard work and effort.”
--------------------------------------------------------------------------
DATE: WEDNESDAY WEEK 10 SEMESTER #2
AUTHOR: Robert Schumann
QUOTE FROM THE BOARD:
"The history of music, supported by the actual hearing of the master compositions of the different epochs, is the shortest way to cure you of self-esteem and vanity. ”
MEANING OF THE QUOTE:
“A person may think their art is great until they compare it with the greatest masters such as Beethoven and Mozart.”
---------------------------------------------------------------------------
DATE: THURSDAY WEEK 10 SEMESTER #2
AUTHOR: Ludwig van Beethoven
QUOTE FROM THE BOARD:
“Off with you! You're a happy fellow, for you'll give happiness and joy to many other people. There is nothing better or greater than that!”
MEANING OF THE QUOTE:
“The greatest happiness one can give himself is the joy of making other people happy.”
----------------------------------------------------------------------------
DATE: FRIDAY WEEK 10 SEMESTER #2
AUTHOR: Frederic Chopin
QUOTE FROM THE BOARD:
“Simplicity is the final achievement. After one has played a vast quantity of notes and more notes, it is simplicity that emerges as the crowning reward of art.”
MEANING OF THE QUOTE:
“The easier something looks to produce, the harder it is to achieve in actuality. When you are good at something you make it look easy.”
-----------------------------------------------------------------------------
AUTHOR: Leonard Bernstein
QUOTE FROM THE BOARD:
“Any great work of art... revives and readapts time and space, and the measure of its success is the extent to which it makes you an inhabitant of that world - the extent to which it invites you in and lets you breathe its strange, special air.”
MEANING OF THE QUOTE:
“A great piece of music can transport your imagination back in time, ahead in the future, make you laugh or cry, and send you to exotic places.”
-----------------------------------------------------------------------------
DATE: TUESDAY WEEK 10 SEMESTER #2
AUTHOR: Irving Berlin
QUOTE FROM THE BOARD:
“Talent is only the starting point.”
MEANING OF THE QUOTE:
“Talent will only be of use if you combine it with hard work and effort.”
--------------------------------------------------------------------------
DATE: WEDNESDAY WEEK 10 SEMESTER #2
AUTHOR: Robert Schumann
QUOTE FROM THE BOARD:
"The history of music, supported by the actual hearing of the master compositions of the different epochs, is the shortest way to cure you of self-esteem and vanity. ”
MEANING OF THE QUOTE:
“A person may think their art is great until they compare it with the greatest masters such as Beethoven and Mozart.”
---------------------------------------------------------------------------
DATE: THURSDAY WEEK 10 SEMESTER #2
AUTHOR: Ludwig van Beethoven
QUOTE FROM THE BOARD:
“Off with you! You're a happy fellow, for you'll give happiness and joy to many other people. There is nothing better or greater than that!”
MEANING OF THE QUOTE:
“The greatest happiness one can give himself is the joy of making other people happy.”
----------------------------------------------------------------------------
DATE: FRIDAY WEEK 10 SEMESTER #2
AUTHOR: Frederic Chopin
QUOTE FROM THE BOARD:
“Simplicity is the final achievement. After one has played a vast quantity of notes and more notes, it is simplicity that emerges as the crowning reward of art.”
MEANING OF THE QUOTE:
“The easier something looks to produce, the harder it is to achieve in actuality. When you are good at something you make it look easy.”
-----------------------------------------------------------------------------