WINYL
Leonard Bernstein: Leonard Bernstein - The Harvard Lectures [13CD]
Artykuł niedostępny
| Kategoria | Klasyka |
| Wykonawca | Leonard Bernstein |
| Lista utworów |
|
| EAN | 0190758504728 |
| Dział | WINYL |
| Data premiery | 2018-08-17 |
| Tytuł oryginalny | Leonard Bernstein - The Harvard Lectures |
| Wykonawca | Leonard Bernstein |
| Rok wydania | 2018 |
| Liczba nośników | [13xCD] |
- 1. First of all...
- 2. Perhaps the principal thing...
- 3. Let me start...
- 4. This is not just a sentimental anecdote...
- 5. From this time...
- 6. But how do we investigate...
- 7. Now you can see...
- 8. Universality is a big word...
- 9. Other linguists...
- 10. I began by imagining myself...
- 11. Well, then I thought...
- 12. Let's make a simple analogy...
- 13. Maybe even a divine one...
- 14. But where do these notes come from...
- 15. This acoustical phenomenon...
- 16. All these upper notes...
- 17. The first overtone...
- 18. But more of that later...
- 19. But let's not make the mistake...
- 20. And that's how the tempered clavichord...
- 21. Now this is a substantive universal...
- 22. But let's be careful...
- 23. And there is always that blue note...
- 24. But even these twelve tones...
- 25. I trust you realize...
- 26. And again comes a great leap...
- 27. Now this means...
- 28. This is not to say that there were no drastic changes...
- 29. But meanwhile we are still in the Golden Age...
- 30. So, we're in the midst of a chromatic adventure...
- 31. And all by those progressions...
- 32. Now, I must point out...
- 33. Do you realize...
- 34. 1. Molto allegro
- 35. 2. Andante
- 36. 3. Menuett: Allegretto - Trio
- 37. 4. Allegro assai
- 38. Every once in a while...
- 39. Last week...
- 40. Amen, says Noam Chomsky...
- 41. I suppose what Chomsky is really after...
- 42. So, let's pull up our socks...
- 43. All right, let's try another one...
- 44. Why am I taking your time...
- 45. Well then...
- 46. I think it follows...
- 47. But first, what are these principles...
- 48. Transformational grammar...
- 49. But now just think of that sentence...
- 50. Since this is not a linguistics class...
- 51. Take the passive transformation...
- 52. Well, it hasn't brought us there...
- 53. Good - now just as three notes are linked together...
- 54. Now let's go back...
- 55. Now we are ready...
- 56. Now I want to take you...
- 57. Well, transformation, deletion, embedding, pronominalization...
- 58. I am sure I don't have to trouble...
- 59. Here I go...
- 60. I have asked myself...
- 61. I became so fascinated...
- 62. Let's take one such utterance...
- 63. Now imagine...
- 64. Now let's see...
- 65. Mozart's G minor Symphony...
- 66. Now our job is...
- 67. That introductory accompaniment...
- 68. What does this three-note design mean...
- 69. The reason I pick symmetry...
- 70. Now from here on...
- 71. And once again, we are back...
- 72. By far the chief transformational principle...
- 73. You see, one of the great failings...
- 74. Most people hearing Mozart's opening...
- 75. So what, you ask...
- 76. And if you are still not convinced...
- 77. These ambiguities...
- 78. For instance, in this same first movement...
- 79. So all these syntactic transformations of the same material...
- 80. He talks about this sonnet...
- 81. Because now it's time...
- 82. But now let's listen to...
- 83. Listen to the whole exposition...
- 84. Development coming up...
- 85. The circle of fifths again...
- 86. And that was all one single sentence...
- 87. The other day...
- 88. The first would show us one meaning...
- 89. Think of this famous passage...
- 90. A linguist would say...
- 91. Well, I replied, Chomsky would say...
- 92. Of course, that last metaphorical leap...
- 93. Terrific, said my blonde inquisitor...
- 94. In fact, when you think of the number...
- 95. All right, first let's look briefly...
- 96. Playing, that's the word...
- 97. But does this Stravinskian game concept...
- 98. There are three specific ways...
- 99. Now, having defined my usages of metaphor...
- 100. And here we are in trouble...
- 101. Are we feeling what Beethoven supposedly felt...
- 102. We will never know...
- 103. Now, if we accept this general idea...
- 104. In our last lecture...
- 105. We all recognize antithesis...
- 106. It can and it does...
- 107. And again, as in the poem...
- 108. In fact, it has been authoritatively suggested...
- 109. We can expand the idea...
- 110. What do you suppose...
- 111. What's seriously striking...
- 112. So why the Pastorale in this lecture...
- 113. Let's begin at the beginning...
- 114. But what of the more obvious melodic material...
- 115. But to develop how...
- 116. Now we have an insight...
- 117. But wait...
- 118. But why were just those two notes added...
- 119. The metaphor arises...
- 120. But in the ensuing four bars...
- 121. But that's not the main event...
- 122. Well, that's the beginning...
- 123. That's one of the questions...
- 124. This interference of the two frequencies...
- 125. But what are we to say...
- 126. It is to be found...
- 127. Now that's one way of looking...
- 128. At this point...
- 129. Even if you can succeed...
- 130. 1. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande (Allegro ma non troppo)
- 131. 2. Szene am Bach (Andante molto moto)
- 132. 3. Lustiges Zusammensein der Landleute (Allegro)
- 133. 4. Gewitter, Sturm (Allegro)
- 134. 5. Hirtengesang: Frohe und dankbare Gefuhle nach dem Sturm (Allegretto)
- 135. When I first wrote down the title...
- 136. Part of the danger...
- 137. The idea of ambiguity...
- 138. Similarly, in our second lecture...
- 139. Then what's the magic secret...
- 140. Enough of ambiguity...
- 141. The irony of all this...
- 142. But, mind you...
- 143. Where music was concerned...
- 144. Only think of...
- 145. And Chopin: well, we can't ignore Chopin...
- 146. And then, in the same little mazurka...
- 147. Foolish questions...
- 148. Let me try to read you...
- 149. Listen to this...
- 150. They began to intermingle...
- 151. The pivotal point...
- 152. So there is a dramatic change...
- 153. So it is after all not so surprising...
- 154. Now if you noticed...
- 155. You see, the music is trying hard...
- 156. So that instant in musical time...
- 157. Now Romeo is all stirred up...
- 158. 1. Romeo seul: Tristesse - Bruits de concerts et de Bal - Grand f?te chez Capulet: Andante malinconico e sostenuto
- 159. 2. Allegro - Larghetto espressivo
- 160. 3. Allegro
- 161. 4. Reunion des deux th?mes, du Larghetto et de l'Allegro
- 162. What a piece...
- 163. Quite unconsciously borrowed...
- 164. My purpose in all this...
- 165. Is it, says Wagner...
- 166. Every diminished seventh chord...
- 167. Now the remarkable thing is...
- 168. And this is what gives Tristan...
- 169. Vorspiel - Liebestod
- 170. That may be the slowest performance...
- 171. But ultimately...
- 172. Poetry has begun to show...
- 173. And when Debussy...
- 174. It's lovely, this dreaming...
- 175. For example, do you remember...
- 176. In fact, the ending of this piece...
- 177. Let me show you briefly...
- 178. This new episode that proceeds...
- 179. For instance, hardly have we had time...
- 180. Because the scale...
- 181. It's almost exactly what happens...
- 182. Literally translated...
- 183. But notice, too, that the example...
- 184. Both works have definitive beginnings...
- 185. Listen as I pay...
- 186. Prelude ? l'apr?s midi d'un faune (Vorspiel zu Der Nachmittag eines Faun)
- 187. Some crazy modern music...
- 188. Our lecture tonight...
- 189. 4. Feria
- 190. What a way to enter the twentieth century...
- 191. But 1908, if the truth be told...
- 192. These troubling presentiments...
- 193. So, now in 1908...
- 194. This is atonality...
- 195. A charming idea...
- 196. The unanswered Question
- 197. Is that luminous final triad...
- 198. I have recently been reading...
- 199. We have already referred to some of those...
- 200. In any case...
- 201. But for all these reasons...
- 202. Son of Tristan...
- 203. Now you look at those first two bars...
- 204. Of course, there are lots...
- 205. It's as though a new covenant...
- 206. Trouble is, that the new musical rules...
- 207. The kind of tonal feeling...
- 208. Of course, there are those who say...
- 209. It seems somehow inevitable...
- 210. Is there possibly the beginning...
- 211. And what about Beethoven's Ninth...
- 212. There are some of the problems...
- 213. Now let's jump ahead...
- 214. Let's put it another way...
- 215. First of all, Berg chose a tone row...
- 216. So, all in all...
- 217. Konzert fur Violine und Orchester (Auszug)
- 218. Fantastic...
- 219. It comes at a point...
- 220. 2. Allegro, ma sempre rubato
- 221. If this particularly demanding lecture...
- 222. If you really have been thinking...
- 223. But while restudying this work...
- 224. The twentieth century...
- 225. What do you do if you know all this...
- 226. It's very strange, how the pieces...
- 227. What exactly was this news...
- 228. We emerge from a cinema...
- 229. As you listen to this finale...
- 230. This is Mahler...
- 231. 4. Adagio, sehr langsam und noch zuruckhaltend
- 232. I know what you are thinking...
- 233. What about this...
- 234. I am plaguing you with this question...
- 235. Of course what he is really talking about...
- 236. But it was precisely...
- 237. Now I have just used two words...
- 238. In fact, it was Satie, Picasso, and Cocteau...
- 239. But our scene...
- 240. Even in the most...
- 241. For our purposes...
- 242. Musicologists are always pointing...
- 243. But bitonality does not only serve...
- 244. Of course, polytonality can and does...
- 245. Now what's going on...
- 246. And while you are in that record shop...
- 247. Of course, these asymmetries...
- 248. Brutal it may be...
- 249. Now, remember...
- 250. These are two sets...
- 251. Just cast an eye...
- 252. Now that page of music...
- 253. But the most striking semantic effect...
- 254. This new aesthetic relaxation...
- 255. Even some Germans...
- 256. You can see how the transformation...
- 257. Chomsky himself gives a classic example...
- 258. Very important, the ironic element...
- 259. So, it would seem...
- 260. But this neoclassic approach...
- 261. I think this is again a moment...
- 262. It's the essence...
- 263. If this poem were rewritten...
- 264. Why have I digressed...
- 265. Now can you understand...
- 266. Untermeyer called this...
- 267. Of course, with The Waste Land...
- 268. But the thing of it all is...
- 269. We are going to hear...
- 270. One has only learned to get...
- 271. Now I propose only because...
- 272. This union is possible only because...
- 273. But what has all this to do with Stravinsky...
- 274. And this is the essence...
- 275. Look: here is a joke...
- 276. Chilling, shattering, neoclassic...
- 277. Stravinsky's own aesthetic pronouncements...
- 278. But of course he was forced...
- 279. And now we are finally reading...
- 280. And then Mozart appears...
- 281. But this eclecticism knows no bounds...
- 282. Now all this I had planned to tell you...
- 283. You think that's funny...
- 284. How about that...
- 285. Then came the answer...
- 286. But why this particular misalliance...
- 287. My words are poor...
- 288. Prolog: You are about to hear a Latin version of Oedipous the King
- 289. Caedit nos pestis (1. Akt)
- 290. Liberi, vos liberabo
- 291. This is Creon, brother-in-law of Oedipus
- 292. Respondit deus
- 293. Oedipus questions the Fountain of Truth
- 294. Dicere non possum
- 295. Gloria!
- 296. The dispute of the princes attracts the attention of Jocasta (2. Akt)
- 297. Nonn' erubescite, reges
- 298. Ne probentur oracula
- 299. Ego senem cecici
- 300. The witness to the murder comes out of the shadow
- 301. Adest omniscius pastor
- 302. Nonne monstrum rescituri
- 303. And now you are going to hear that famous monolog...
- 304. Divum Jocastae caput mortuum!
- 305. Ecce! Regem Oedipoda
- 306. Va-le-di-co...
- 307. During that decade...
- 308. It was at this point that I wrote...
- 309. What interests me about it...
- 310. Is it possible...
- 311. It's as tough in the period...
- 312. And I believe...
Leonard Bernstein
Klasyka
Muzyka Winyl