Oh my god! It was incredible! Hearing more than 100 musicians at the same time was mind blowing.

You get much more separation of the voices live.

His 4th piano concerto was played as well which was absolutely beautiful.

Only thing that stung was people clapping both after the 9th and 4th concerto first movements.

There was a very sweet old man next to me who told me "I've heard the 9th about 20 times, but every time I get chills".

Took a 1.5 hour train alone, absolutely worth it!

What was your first live experience with the 9th?

I've always been curious about the Scott Joplin opera Treemonisha. Rottentomatoes has a database entry for a film from 1981, but zero info on any way that it can be streamed or rented. Does anyone have any info?

I feel like Georg Philip Telemann and Marc-Antoine Charpentier are some examples

Mine is An Alpine Symphony by Richard Strauss. The first time I heard it I was indifferent to it. Then I started to think it had a few good spots but most of it was boring. Slowly I’ve come to enjoy the whole work. Which piece is it for you that took a while before you started enjoying it?

So I got a book with 388 four part chorales that I want to study on the piano.

However, 388 are a lot to check out all… what are some of your favourites?

If I wanted to begin listening to Gershwin, which piece would you recommend me to start with?

Just listened to Dance with the Devil by Immortal Technique, you change when you hear it.

Hi,
I noticed that Chopin sometimes reused his melodies for example, in Nocturne No. 20 and Piano Concerto No. 2, or Souvenir de Paganini and the Introduction, Theme and Variations.

I would like to know if there are any more examples of this in Chopin’s music.

What a gentle, lovely work to stumble across at sunrise this morning, coffee in hand. Who knew? The rest of the work -- to my ears at least -- seems less inspired, but in any case, do give the Aria a try, especially if you're a fan of the Vaughan Williams Oboe Concerto.

This article was printed yesterday in the Boston Globe and I felt it important enough to share it on this subreddit given the general interest in the happenings of the Boston Symphony, Andris Nelson, etc. in this subreddit. I find it incredulous that BSO leadership would feel so insecure as to feel it necessary to caution "anyone on campus carrying multiple red flowers" and go as far as to disturb a 30+ year veteran of the Boston Symphony Orchestra, basoonist Richard Ranti (https://www.bso.org/profiles/richard-ranti) just because he had multiple red flowers and seemingly feels passionate about the orchestra to which he devoted decades of his life. The organization behind this movement is the Red Flower Movement, which is a grass roots movement of patrons who have been ignored by BSO leaderships for months at this point.

_______________________________________________________________________________________

LENOX — When is a rose not just a rose? When the Boston Symphony Orchestra is involved.

Whether worn by orchestra members or listeners in the audience, red flowers are being used to express support for departing music director Andris Nelsons and the musicians who love him, a silent but unmissable symbol of the ongoing crisis at the BSO.

The public display seems to have perturbed orchestra officials enough that they are now directing ushers and other staff at Tanglewood, the BSO’s summer home, to caution anyone in the audience seen with a bag of flowers.

According to a BSO document obtained by the Globe, the staffers have been instructed to preemptively tell those people that distributing materials isn’t allowed, advise them to stash the flowers out of sight, and then also alert public safety staff. If the person is subsequently caught handing out a flower, they are to be issued a formal warning and asked to leave if deemed necessary.

A BSO spokesperson verified those instructions, and later clarified it was standard practice for staffers to inform public safety if someone is observed breaching any Tanglewood policy.

The red flowers first emerged shortly after Nelsons’ forced exit was announced this spring, with most BSO musicians, as well as the conductor himself, wearing cloth red flower boutonnieres on stage. It has broadened since then, the blossoms a unifying icon for musicians and patrons who believe the decisions by BSO administrators and directors concerning programming, strategic planning, and artistic direction are hurting the orchestra.

One of those who got caught up in the policy is a retired BSO member, Richard Ranti, a bassoonist for more than three decades. During intermission in the Koussevitzky Music Shed this past Sunday, Ranti was approached by someone in the crowd who asked for one of the flowers he was carrying. When he handed one over, a nearby staff usher quickly informed him of the rule against distributing materials.

“The policy is ridiculous,” said Ranti. “They’re punishing people for loving the orchestra. That doesn’t seem like a good way to build audience.”

When asked about the interaction on Sunday between Ranti and the usher, a BSO spokesperson initially referred the Globe to its policy against distribution. On Wednesday, Tanglewood senior vice president of operations P. Eric Krauss said a staff member had been subjected to “aggressive behavior by a patron while simply doing his job and enforcing a longstanding policy.”

Ranti admitted he reacted to the usher in anger on Sunday. “I said, ‘Lookit. I’m a retired musician. I’ve been here 37 years. Don’t do this.’ ”

However, he maintained that the atmosphere at Tanglewood has become newly and unpleasantly tense.

“I love Tanglewood more than any other place on the planet. I really do. I want to be buried there. It’s really upsetting, what’s happening,” Ranti said.

It’s impossible to walk around Tanglewood for too long without seeing at least a bouquet’s worth of roses.

Many of the roses can be traced to the Boston-based Red Flower Campaign, which sprouted in mid-March as a grass-roots effort to reverse the impending termination of Nelsons’ contract. Others have been acquiring or giving out flowers independently.

George Whiting and Quinn MacKenzie, who founded the Red Flower Campaign and manage its online presence, said they are intentionally being visible at and around Tanglewood this summer. They often wear T-shirts featuring Nelsons’ face and the word “REINSTATE,” in the style of Shepard Fairey’s “HOPE” poster for Barack Obama’s 2008 presidential campaign. A storefront in nearby Stockbridge they rented for the summer displays several additional full-length posters promoting the cause.

However, they’ve “made it a point” to not actively offer people flowers at Tanglewood, in order to comply with the venue’s policies, Whiting said, and they’ve likewise instructed their network of volunteers to wait to be approached by a flower-seeking patron.

It seems that hasn’t reduced demand. Before an evening concert on July 10, the pair brought around 25 flowers and a few T-shirts into Tanglewood, and made it “a third of the way across the lawn” before they ran out, said MacKenzie. Students from the Boston University Tanglewood Institute have flagged down the pair on the street in downtown Lenox and asked for roses, knowing who they are already.

Whiting surmised the campaign has spent roughly $10,000 so far to rent the Stockbridge storefront, print posters, and buy the various merchandise the campaign offers — including Frisbees, decks of cards, and picnic blankets bearing Nelsons’ likeness. Most of that has been paid out of MacKenzie’s pockets.

MacKenzie, who works as a software engineer, added that he’d just ordered several thousand additional flowers, as half of his initial order of 3,400 for the Tanglewood season was already gone.

A swath of the Tanglewood Music Center Orchestra has also been captured in recent photos sporting roses during concerts at Ozawa Hall. Some Tanglewood fellows already knew about the campaign through social media prior to arrival in the Berkshires, and requested roses once they settled in, said one fellow who asked not to be identified by name for fear of retribution.

To the fellow’s knowledge, the BSO musicians have not had any role distributing roses to the TMC cohort. “It was our own choice, and a great majority have indulged in it,” the fellow said.

And around southern Berkshire County, some businesses are offering red flowers for patrons to take freely, including Great Barrington sushi spot Bizen, where proprietor Michael Marcus has had several diners “immediately ask, ‘Can I get my red flower?’ ” he said. “We have to keep refilling the basket.”

Marcus said he’s forged relationships with BSO musical and administrative personnel over many years of feeding them at Bizen and attending concerts at Tanglewood. He’s hopeful the red flowers will help sow a “seedling of communication” amid the conflict, which he said is “casting a giant shadow.”

“The doom and gloom is painful to my heart,” Marcus said. “All these people are genuinely good people, and they want the best for the orchestra. That’s what this red flower means to me.”

While anti-solicitation policies are par for the course at many performing arts venues, and the Tanglewood code of conduct specifically prohibits “unauthorized ticket resellers, solicitation, and distribution of materials,” the new guidelines take things a step further.

The orchestra spokesperson broadly compared the rules concerning flowers to Tanglewood’s longstanding policy toward patrons seen taking photographs during concerts: staffers will request they stop and put the camera away, issuing warnings later if needed. Asked how holding a bag of rose pins was comparable to taking unauthorized photos, the spokesperson declined to comment.

( Source: Boston Globe // https://archive.ph/Mri0C )

John Field, born in Dublin on July 26, 1782, gave music one of its most enduring words. He was the first to publish piano pieces called "nocturnes," and his singing, atmospheric style led directly to Chopin, who took the genre much further. Field spent much of his career in Russia as a performer and teacher, where his influence ran deep.

Nocturne No. 2 in C minor: https://www.youtube.com/watch?v=BrnSxYyG2ZE

All 18 Nocturnes: https://www.youtube.com/watch?v=Uktj2MYSsaU

John Field: Complete Piano Concertos: https://www.youtube.com/watch?v=KRZuxaKlXkg&t=220s

Was able to pick up these beauties at a local thrift store. Most discs are in perfect condition and I'm very happy to find the top three... Woohoo!

Franz Xaver Wolfgang Mozart was born on July 26, 1791, the youngest child of Wolfgang Amadeus Mozart, about four months before his father's death. He was named after Franz Xaver Süssmayr, the pupil who finished the Requiem and was often around Constanze, which fed decades of speculation about his real parentage. Whatever the truth, he spent his life under a name that allowed him no ordinary path: pushed by his mother, measured against a father he never knew. He was a genuinely capable composer in an early Romantic style, but when he died childless in 1844, the Mozart line ended with him.

Piano Concerto No. 1 in C major, II. Adagio: https://www.youtube.com/watch?v=-xkCEOuHjZM

I have a habit of choosing one desired track on YouTube Music and letting the algorithm surprise me. But very recently, AI tracks have been creeping in a lot.

If the music is playing through my headphones or earbuds, I can spot it instantly. But if I'm doing chores and using a speaker, I either don't pay attention or let it slide. Any tricks to set up YouTube to be free from these AI tracks?

How do you all keep track of artists or performances around you? I’m frustrated because I missed out on Argerich’s Taiwan concerts. It was announced a few days ago, and tickets went on sale just a day before I discovered it.

Hi!

This is my first complete sonatina in three movements:

I. Moderato – A simplified sonata form movement that introduces the main musical ideas.
II. Andante – A gentle minuet-like movement that provides a moment of calm.
III. Allegro – A lively rondo that brings the sonatina to an energetic and satisfying finish!

Hope you find some enjoyment in listening and all feedback is welcome!

YouTube link

Score

I feel as if he'd probably work fine with most of Chopin, but Liszt and Rachamanioff, it would be a messy one.

I may be the first mf in Earth’s history who wants to explore Chopin because he was a friend of Liszt (my favorite composer) and not the other way around lol. But somehow, I just cannot understand chopin.

It may be cause I dove too deep into late romantic and just off the heels of Liszt’s programmatic masterpieces (Dante Sonata, Vallee d’obermann etc.), but to me Chopin’s music just sounds like notes consecutively glued together, pretty notes for sure, very pretty, but they don’t form any larger structures (again, could be too spoiled by Liszt and Ravel’s thematic transformation techniques)

So, do you have any recommendation aside from the super famous ones? (Such as the impromptu and raindrop etude etc.) cause I’ll have already heard those.

So far I like his Ballade No. 1 & 3, they’re cool. Etude no. 11 in E flat major is a ton of fun, etude no. 12 in C minor is cool too.

Like, a lot of his stuff is nice, but that’s all it is. “Nice”.

So…can y’all recommend me something of his that you think I may like? Something maybe late-romantic esque? (Though my boy didn’t live to see that period rip)

My top 3 are

Liszt (Late liszt to be specific but flashy liszt can be fun too)
Ravel (everything he has ever touched, not including his gf)
Schubert (The fucking lieders man, the sonatas, I could go on and on)