@@tvoi_maniac Умница! Я сейчас живу в Крыму на Южном берегу, по спец не работаю в связи с этой пандемией, сама занимаюсь, что-нибудь изучаю. вот занялась Рихардом Штраусом, у меня тоже есть канал на ютюбе, если захотите приехать отдыхать, помогаю с жильем. На вас подписалась.
Экспозиция 0:13 ГП 2:35 ПП ("канон") Разработка 5:02 ГП 7:00 медленный эпизод G dur, соло гобоя 10:17 "фанфара Дон Жуана" у валторн Реприза 14:24 ГП, 1-я т Дон Жуана 15:17 "фанфара" как ПП, 2-я т Дон Жуана
After being forced to play this excerpt time after time, I forgot what an amazing piece of art this is. It’s almost a shame that it has become the menace of auditions. I don’t really get why it has. The piece isn’t programmed all the time.
COMPLETELY AGREED. I am so sick of it. It is asked for EVERY string player (double basses mostly get Heldenleben) and SELDOM programmed on concerts so that people at the very least get experience playing it outside just rote drilling it away ad nauseam to tedium. It is expected to be played perfectly, like a concerto - the whole audition system sucks.
I think the reason is because it is one of the most difficult passages in the standard repertoire to play in synch with each other. And people want to make sure that should this piece ever be programmed, that everyone in the orchestra can whip it out without having to go back to base came training.
@@Quotenwagnerianer ^ But then if that be the case, the most logical and reasonable thing to do would be to insert a candidate into the section for which they're auditioning and see if they can play said excerpt with the section. These excerpts weren't meant to be played robotically individually. Playing solo does not prove in any way that one can play with a section. The audition system needs to be completely revamped.
Richard Strauss based his work in the music of Richard Wagner. Erich Wolfgang Korngold based his work in the music of Richard Strauss. John Williams based his work in the music of Erich Wolfgang Korngold, etcetera.
I was JUST reading this part on Wikipedia: As film historian Roy Prendergast wrote, "When confronted with the kind of dramatic problem films presented to them, Steiner, Korngold and Newman ... looked to Wagner, Puccini, Verdi and Strauss for the answers to dramatic film scoring."
![Noob To Max With DRAGON REWORK In Blox Fruits [FULL MOVIE]](http://i.ytimg.com/vi/LnBMOinoOvA/mqdefault.jpg)
![BLACK BAG - Official Trailer [HD] - Only in Theaters March 14](http://i.ytimg.com/vi/Du0Xp8WX_7I/mqdefault.jpg)
0:00 - вст. тема насолод
0:13 - 1 т. Дон Жуана
1:04 - СП т. Церліни
2:34 - ПП H
6:06 - РБ 1 епізод т. Донни Ельвіри (альти, віолончелі)
7:00 - РБ 2 епізод т. Донни Анни ( гобой)
10:19 - РБ 3 епізод 2 т. Дон Жуана (валторни)
12:06 - РБ 4 епізод т. карнавалу (труба)
13:16 - РБ 5 епізод т. спогадів ДОн Жуана
Экспозиция
0:00 Вступление
0:13 ГП стремление к идеалу
1:04 СП
2:35 ПП скрипки
Разработка
ГП/ т. Д.Ж. 5:02
1 эп, ламенто, т. Донны Эльвиры, альты, флейта 6:06
2 эп, романс, т. Донны Анны, соло гобоя 7:00
3 эп, гимн, 2 тема Д.Ж., квартет валторн 10:17
4 эп, ложная реприза, 1 раздел 11:59 2 раздел 13:17 СП, ПП
Реприза
ГП 14:24
2я тема Д.Ж. 15:17
Кода 17:11
01:52
That chord in winds always makes me melt...
me.
too.
that's your classic dominant 9. My favorite chord of all time, debussy used it a whole lot
@@indioduran4535 it’s actually a dominant 9, not major 9 😊 the chord tones are F#A#C#EG#. E would need to be sharp for a major 7.
@@indioduran4535 Dominant 9th. No major 7th, minor 7th
@@TheGymSavant omg im so stupid my bad editing it now
ЭКСП.
0:00 - вст.
0:13 - г.п.
1:04 - с.п.
2:34 - п.п.
РАЗР.
5:01 - Вст (г.п)
6:06 - 1 эпизод
7:00 - 2 эпизод
10:19 - 3 эпизод
12:06 - 4 эпизод (1фаза)
13:16 - 4 эпизод (2 фаза)
Реприза
14:27 - г.п.
15:18 - 2 тема ДЖ
КОДА
17:11 - траурный хорал
1:57 соло скрипки перед пп
4:57 драматизация после пп
11:14 4 роздел разработки giocoso
Добрый день Наташа! Огромное спасибо за анализ формы, мне очень сейчас пригодилось, слушала и смотрела ваш коммент по минутам и благодарила!
@@gitara216088 не за что)) мне на викторину по истории зарубежной музыки надо было, поэтому решила все отметить, вдруг кому пригодится тоже))
@@tvoi_maniac Умница! Я сейчас живу в Крыму на Южном берегу, по спец не работаю в связи с этой пандемией, сама занимаюсь, что-нибудь изучаю. вот занялась Рихардом Штраусом, у меня тоже есть канал на ютюбе, если захотите приехать отдыхать, помогаю с жильем. На вас подписалась.
@@tvoi_maniac святой человек.. спасибо большое
That score's huge! Definitely a Romantic piece (and sounds pretty neat)
Экспозиция
0:13 ГП
2:35 ПП ("канон")
Разработка
5:02 ГП
7:00 медленный эпизод G dur, соло гобоя
10:17 "фанфара Дон Жуана" у валторн
Реприза
14:24 ГП, 1-я т Дон Жуана
15:17 "фанфара" как ПП, 2-я т Дон Жуана
0:00-0:13 Excerpt 1
4:26-5:01 Excerpt 2
11:49-12:21 Excerpt 3
Cello pain
if you can't play it, play it backwards.
I got the reference 😁
@@ckchang-wg2lw :) glad that somebody hv finally commented here lol
Can you explain please?
@@bibobabu8756 it's from one of the 2setviolin video, which is about a violin charade on guessing the piece.
Just a note for myself, Percussion excerpts:
1:45
11:00
I envy that you get to play this piece!
ГП: 0:00
ПП (1 женская) 2:34
Эпизод в разработке 5:00
Эпизод 5:44
Эпизод (3 женская) 6:58
Вторая тема Дон Жуана в партии валторны 10:19
ש
זשזששש
Экспозиция
ГП
ПП - 1:53
Разработка - 5:45
лирический центр (7:00).
фанфары Дон Жуана (10:20)
скерцозный эпизод (11:14).
2 лирических эпизода (13:00) и (13:40)
Реприза (14:00)
ГП
вместо ПП - фанфары (15:17)
Трагическая кода! (17:14)
Экспозиция
0:00 Вступление
0:13 ГП
1:04 СП
2:35 ПП
Разработка
ГП/ т. Д.Ж. 5:02
1 эп, ламенто, т. Донны Эльвиры 6:06
2 эп, романс, т. Донны Анны 7:00
3 эп, гимн, 2 тема Д.Ж. 10:17
4 эп, ложная реприза, 1 раздел 11:59 2 раздел 13:17 СП, ПП
Реприза
ГП 14:24
2я тема Д.Ж. 15:17
Кода 17:11
After being forced to play this excerpt time after time, I forgot what an amazing piece of art this is. It’s almost a shame that it has become the menace of auditions. I don’t really get why it has. The piece isn’t programmed all the time.
COMPLETELY AGREED.
I am so sick of it. It is asked for EVERY string player (double basses mostly get Heldenleben) and SELDOM programmed on concerts so that people at the very least get experience playing it outside just rote drilling it away ad nauseam to tedium. It is expected to be played perfectly, like a concerto - the whole audition system sucks.
I think the reason is because it is one of the most difficult passages in the standard repertoire to play in synch with each other. And people want to make sure that should this piece ever be programmed, that everyone in the orchestra can whip it out without having to go back to base came training.
@@Quotenwagnerianer ^ But then if that be the case, the most logical and reasonable thing to do would be to insert a candidate into the section for which they're auditioning and see if they can play said excerpt with the section. These excerpts weren't meant to be played robotically individually. Playing solo does not prove in any way that one can play with a section. The audition system needs to be completely revamped.
Uh ok how do I play this
Absolute Mastery.
1:38 - Glock 1
5:12 - Triangolo
11:20 - Glock 2
Impressive masterpiece of music.
The harmony tho.... I like to come here and just do harmonic analysis lol
And what is the result?
@@emanuel_soundtrack harmonic analysis knowledge
2:35 for the horn except
Marvelous 🤍🤍🥰🥹🎼🎵🎶
6:56 just leavin this oboe excerpt here for me
what a great section that one
8:20 excerpt 4
4:02 Trumpet
4:48
6:20
11:07
11:59
excerpt hell i love it
Mastery!
0:26 second portion of excerpt 3
11:45
Sounds a little bit like Korngold's score for "The Adventures of Robin Hood" from 1938.
Richard Strauss based his work in the music of Richard Wagner. Erich Wolfgang Korngold based his work in the music of Richard Strauss. John Williams based his work in the music of Erich Wolfgang Korngold, etcetera.
Well no, The Adventures of Robin Hood sounds like this.
"I can steal from Richard Strauss and you can steal from Richard Strauss, but don't you dare steal from me!"---E.W. Korngold
I was JUST reading this part on Wikipedia:
As film historian Roy Prendergast wrote, "When confronted with the kind of dramatic problem films presented to them, Steiner, Korngold and Newman ... looked to Wagner, Puccini, Verdi and Strauss for the answers to dramatic film scoring."
Great
this is terrible music
@@cauttery wrong
@@cauttery so why find it on RUclips HmMmMmM.....
@@cauttery i respect your opinion. can u explain why u hate it
@@fredericchopin6445 good response, Fred. I too want to know why he hates it
00:32
4:00
violin E string 0:12
00:53
01:46
02:32
04:23
0:00 0:30
3:56 5:24 10:50 14:40 16:42
Note for self: 10:15-11:05
0:00
10:52O
10:18
🎖
0:00-1:01
3:00
13:55
15:13 oh no
1:28
Basse 11:18
1:04 woman I
1:58 woman II
2:35 woman III
5:43 next seduction
11:50 drunken carnival scene
13:09 early woman Don Juan seduced
8:10
10:19
Note for myself 3:00 - 3:56
Twosetviolin
How did you predict this?!
@@giocosovelasco just heard in several videos...
I love how you can read the comments in any classical music video and at least one of them will be about Twoset
@@oxymoronic717 I know.
i knew there will a comment like this lmao
4:25 自分用
The acoustic makes this recording sounds messy.
John Williams orchestrates like Strauss.
John Williams orchestrates like Korngold who used to orchestrate like Strauss who orchestrated like Wagner, etc.
@@FreakieFanlol
4.25 / 11.50
Jamas esta versión es de Karajan 😅
What a weird ending lol
Экспозиция
0:00 Вступление
0:13 ГП
1:04 СП
2:35 ПП
Разработка
ГП/ т. Д.Ж. 5:02
1 эп, ламенто, т. Донны Эльвиры 6:06
2 эп, романс, т. Донны Анны 7:00
3 эп, гимн, 2 тема Д.Ж. 10:17
4 эп, ложная реприза, 1 раздел 11:59 2 раздел 13:17 СП, ПП
Реприза
ГП 14:24
2я тема Д.Ж. 15:17
Кода 17:11
6:51
1:17
13:58
15:33
10:19
1:17
4:56
1:45