Arachnophonia: Staatskapelle Dresden

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record(s) for the item(s) in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Eli (class of 2024) and features several recordings made by the Staatskapelle Dresden orchestra. Thanks, Eli!

Staatskapelle Dresden Orchestra

Staatskapelle Dresden orchestra

While studying abroad, I was lucky enough to be able to attend a concert from the Staatskapelle Dresden, one of the world’s finest and most historic orchestras. Founded in 1548 by the Duke of Saxony, the Staatskapelle is now celebrating its 475th anniversary. The Staatskapelle plays in the famed Semperoper opera house, first built in 1841 in Baroque and Neo-Renaissance styles. Numerous composers have been linked with the orchestra throughout the years (most notably Strauss and Wagner), and the orchestra has held countless world premieres.

Sempoper - Home of the Staatskapelle

In 2009, the orchestra announced that Christian Thielemann would take on the role of chief conductor, a position he still holds. Thielemann, winner of the Richard Wagner Award and recipient of the Order of Merit of the Federal Republic of Germany, is renowned for his balance between technical precision and expressive interpretation. Under his leadership, the orchestra continues to shape classical music and fascinate its audiences.

If you, too, would like to enjoy the Staatskapelle’s signature sound, the Parsons Music Library has quite the collection of their recordings. I highly recommend Strauss’ Alpine Symphony (M1002.S91 op.64 2007 DVD), Eugen Onegin by Tchaikovsky (RM1500.T35 E8 1988), or Mozart’s Requiem Mass (RM2010.M89 1991).

Parsons Playlists: Summer

Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student manager Eli (class of 2024) and features some summer-y music.

Summer

Although Summer is rapidly leaving us behind, you can still feel the heat with this Summer-themed playlist! Perfect for driving through town with the windows down or relaxing at the beach, kick back and enjoy some light-hearted and care-free tunes.

Hall & Oates – “When the Morning Comes”

Black Eyed Peas – “Where Is the Love?”

Calvin Harris (feat. Pharrell Williams, Katy Perry & Big Sean) – “Feels”

Drake – “Passionfruit”

Mac Miller – “The Spins”

Phony Ppl – “Why iii Love The Moon”

The Avalanches – “Since I Left You” (Prince Paul remix)

Childish Gambino – “Feels Like Summer”

Bill Withers – “Lovely Day”

Scarlet Pleasure – “What A Life”

Field of sunflowers

Here is a link to the whole playlist on YouTube: https://youtube.com/playlist?list=PLU94rco57ZewnC6wGNQ0-v2_6T1HXLe4N&si=haJ-nAA4CkF8EPpB

New CDs added: Summer 2023

New CDs for Summer 2023

Orchestral, Concertos and Chamber Music

J.S. Bach – Complete Sonatas and Patritas for Solo Violin
Maria Bachmann – Fratres
Sir Granville Bantock – Celtic & Hebridian Symphonies
Ludwig van Beethoven – Complete Violin Sonatas, Volume 1 – Heifetz
Ludwig van Beethoven – Complete Violin Sonatas, Volume 2 – Heifetz
Ludwig van Beethoven – Complete Violin Sonatas, Volume 3 – Heifetz
Elliott Carter – Dialogues * Boston Concerto * Cello Concerto * ASKO Concerto
Elliott Carter – Orchestral Works
Shura Cherkassky – II
Samuel Coleridge-Taylor – Hiawatha’s Wedding Feast
Peter Maxwell Davies – The Beltane Fire

Peter Maxwell Davies  - The Beltane Fire

Peter Maxwell Davies – Symphony No. 1
Berthold Goldschmidt – Orchestral Works
Berthold Goldschmidt – Three Concertos
Charles Ives – Universe Symphony
Franz Liszt – Emil von Sauer plays Liszt
Witold Lutosławski – Lutosławski – Penderecki- Cage – Mayuzumi: String Quartets
Gustav Mahler – Symphony No. 8: Symphony of a Thousand
Gustav Mahler – Symphony No. 9
Bohuslav Martinu – Bohuslav Martinu – The Louisville Orchestra
Bohuslav Martinu – Fantasies Symphoniques * Fresques * Juliette

bachmann fratres

Midori – Live at Carnegie Hall
Darius Milhaud – Milhaud Conducts Milhaud
Paul Moravec – Tempest Fantasy
Sergeĭ Nakari͡akov – Carmen Fantasie: Virtuoso Music for Trumpet
Einojuhani Rautavaara – Garden of Spaces * Clarinet Concerto * Cantus Arcticus
Arturo Sandoval – The Classical Album
Adolphe Sax – America’s Millinnium Tribute to Adolphe Sax, Volume II
Adolphe Sax – America’s Millennium Tribute to Adolphe Sax, Volume VII
Franz Schubert – Sonata for arpeggione and piano – Rostropovich
Joseph Schwantner – Angelfire * Beyond Autumn * September Canticle * A Sudden Rainbow
Various Artists – 125 Years of the Leningrad Conservatoire

Charles Ives - Universe Symphony

Jazz

Dave Brubeck Quartet – So What’s New?
Allen Farnham – 5th House

Dave Brubeck Quartet - So What's New?

Samara Joy – Linger Awhile
Andy Narell and Calypsociation – The Passage

Samara Joy -  Linger Awhile

Opera, Opera Excerpts, Choral Music and Art Songs

Arleen Auger – Love Songs
Johann Sebastian Bach – Epiphany Mass
Kathleen Battle – Live at Carnegie Hall
Alban Berg – Seven Early Songs
Hector Berlioz – La Revoution Grecque

Hector Berlioz - La Revolution Grecque

Christoph Willibald Gluck- Orphée et Eurydice
Aleksandr Tikhonovich Grechaninov – Songs of Grechaninov
George Frideric Handel – Theodora

G. F. Handel - Theodora

Emma Kirkby – The Emma Kirkby Collection
Stefano Landi – Il Sant’Alessio
Wolfgang Amadeus Mozart – Exultate Jubilate
Stephen Paulus – To Be Certain of the Dawn
Joaquin Rodrigo – Cantico: Obros para Voces, Coro, y Orquesta

Elena Ruehr - Averno

Elena Ruehr – Averno
John Tavener – The Veil of the Temple
Georg Philipp Telemann – Orpheus
Kurt Weill – Street Scene

Elliott Carter - Dialogues

Folk Music

Zespol Polski – Chopin: Spirit of the Lowlands

Zespol Polski - Spirit of the Lowlands

Early Music

Carlo Gesualdo – Prince of Madrigalists
Hildegard von Bingen – 11,000 Virgins: Chants for the Feast of St. Ursula

Hildegard von Bingen - 11,000 Virgins

Claudio Monteverdi – Vespiri di S. Giovanni Battista
Orlando Consort – The Saracen and the Dove
Thomas Tomkins- Above the Starrs

Thomas Tomkins - Above the Starrs

Piano and Harpsichord Music

Martha Argerich – I
Johann Sebastian Bach – Goldberg Variations – Keith Jarrett
Harold Bauer – The 1929 Victor and 1939 Schirmer Recordings
Ludwig van Beethoven – Piano sonatas opp. 54, 57, 78, 90 – Maurizio Pollini
Ludwig van Beethoven – Klaviersonaten : No. 17 op. 31, no. 2 ; No. 21, op. 53 ; No. 25, op. 79 ; No. 26, op. 81a – Maurizio Pollini

Yundi Li - Chopin Recital

Frédéric Chopin – Sonata no. 2 in B flat minor, op. 35 ; Sonata no. 3 in B minor, op. 58 – Mitsuko Uchida
Frédéric Chopin – Chopin Recital – Yundi Li
György Ligeti – Works for Piano. Etudes – Musica Ricercata
Jon Nakamatsu – Tenth Van Cliburn International Piano Competition
Murray Perahia – Murray Perahia Plays Franck & Liszt

Sir Granville Bantock – Celtic & Hebridian Symphonies

New CDs added: April 2023

New CDs for April 2023

Orchestral, Concertos and Chamber Music

Ruth Gipps- Symphonies Nos. 2 and 4/Song for Orchestra/ Knight in Armor
Pyotr Ilyich Tchaikovsky – Piano Music Vol. 1 /Oxana Yablonskaya, piano

Jazz

Oneness of JuJu – African Rhythms 1970-1982

Opera, Opera Excerpts, Choral Music and Art Songs

Lisette Oropesa & Vlad Iftinca – Within/Without
Giacomo Puccini – Turandot
Ethel Smyth – The Wreckers

Popular Music

The Wants – Container

Arachnophonia: George Harrison “All Things Must Pass”

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Danny (class of 2023) and features George Harrison’s 1970 album All Things Must Pass. Thanks, Danny!

All Things Must Pass
George Harrison

George Harrison - All Things Must Pass (1970)

When analyzing each of the Beatles independently, their lives, and their careers, I often always associate each of the members with each other. I find comfort in coming back to their time as the Beatles. I rarely step out of the Beatles discography and engage with the solo art of each of the four. If you are an avid music listener, this is where you can place your condemnation upon me. Because, I must admit, I have missed out on a lot of music by these four. All four Beatles had taken solo careers and were highly successful. Although I knew this to be true, I still could not bring myself to actually listen. I have no doubt heard some of the famous songs written by one of the four, but never chose to immerse myself in their entire discography.

It was only very recently that I had heard a song by Paul McCartney in his solo career that I had never heard that made me want to scour the internet and find as much as I could about these four men and the masterpieces they put together outside of their time with the Beatles. Stylistically, I assumed a lot of their music would end up being similar to the songs they released while together. Going back to my original thought, that song was “Live and Let Die” by Paul and his band Wings, made to be the theme in the James Bond film of the same name. I had heard the song at 5:00 am over spring break on the radio, waiting in the car for my Amtrak to arrive and take me back to the University of Richmond. And afterward, instead of playing the next song, there was a bit of a discussion by the radio DJ about the song. Usually, I am not a fan of these, which is why I typically just connect my Spotify account and play accordingly, but, I am glad I listened. In it, the DJ said that McCartney needed only 15 minutes to come up with the main structure of the song. That absolutely blew me away. If McCartney can create one of the most iconic movie songs in the history of cinematic production in just fifteen minutes, then I could only imagine how many other songs he had the potential to release.

McCartney was fun and I had my short fix on his music with Wings, but I really wanted to then see the works of George Harrison, whose music constantly became underappreciated and one-upped by Paul and John during their tenure with the Beatles. I knew he must have had a lot of pent up music that he wanted to have released with the Beatles that was passed up on. This music surely had to be released during his solo career.

And, if I am being completely honest, although I believed this, I never actually listened to any of his albums. The only non-Beatles engagement I had with him was “Got My Mind Set On You” from his album Cloud Nine, and the songs that were released by The Traveling Wilburys. The Traveling Wilburys are a fascinating story, and probably worthy to have their own post another day. So, I decided randomly that I would pick an album that was earlier in his solo career. The winner was All Things Must Pass, George’s first album after the breakup of the Beatles.

All Things Must Pass, released in 1970, was unapologetically George. As mentioned earlier, a lot of George’s music was not really put into Beatles works and the other members were not 100% sold on his abilities as a writer. His role was ultimately to play the guitar and act as backup vocals. Years of beautiful work were ultimately kept to himself, as he was not going to release these songs alone while in the studio with the Beatles. I for one actually like George’s songs the most. And so, his style and his writing were way more pleasing to my ears than the other songs of the quartet.

The album is a long one, so I will recommend to be ready. It has a run time of 106 minutes long (1 hour and 46 minutes), and features six sides that were later transformed into two discs. One of the more interesting artists that joined forces with George on the album was Eric Clapton. The relationship between the two has generated some extremely powerful and good music. One of my favorite Beatles songs, “While My Guitar Gently Weeps,” features Eric Clapton’s guitar prominently, creating an elegant sound that creates a weeping noise.

All in all, I do not want to spoil much of the beauty that comes through in this album, and I would advise having a listen. If you want a physical CD copy, come to the Parsons Music Library on the third floor of the Modlin Center (second floor of Booker Hall) and check it out today.

All Things Must Pass poster insert (1970)

George Harrison photographed at Friar Park, 1970 – poster insert for original release of All Things Must Pass

Parsons Playlists: Best Album Art

Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student manager Brianna (class of 2023) and features some music from albums with cool cover art.

Best Album Art

In keeping with my last playlist, here is a collection of my favorite songs from albums with some of my favorite album art, as well as some albums whose covers have become iconic! Enjoy.

Tame Impala – “Borderline”

Palace – “Live Well”

blink-182 – “All The Small Things”

Harry Styles – “Late Night Talking”

My Chemical Romance – “Welcome To The Black Parade”

Green Day – “Basket Case”

Childish Gambino – “Redbone”

Weezer – “Say It Ain’t So”

Collective Soul – “Run”

Nirvana – “Come As You Are”

Gorillaz – “Feel Good Inc.”

Here is a link to the whole playlist on YouTube: https://youtube.com/playlist?list=PLU94rco57Zeybnb59dYL0axiA4iCUAB4B

Arachnophonia: Sound Play: Video Games and the Musical Imagination

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Brianna (class of 2023) and features insert title info here. Thanks, Brianna!

Sound Play: Video Games and the Musical Imagination by William Cheng

Sound Play

In Sound Play, William Cheng dives into the nature of players’ engagements with the audio of video games, from horror to fantasy and more. Cheng explores how the virtual world of video games allows sound designers to play with sound and music in ways that would otherwise not be possible in the real world, and how our interactions with these sounds (in the virtual world) can teach us about ourselves and what we value in the “real” world.

I find this book to be an extremely interesting exploration of a fast growing field of research in musicology. Ludomusicology, or the study of sound in video games, has become a rich field of study as video games become more and more integrated into our lives and the world around us. Cheng wonderfully adds to this body of work by exploring how our own interactions within a virtual world and the choices we make shape us into the people we are in our everyday lives.

Arachnophonia: Music in Film by Michel Chion

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student assistant Naron (class of 2023) and features a book about film music. Thanks, Naron!

Music In Film by Michel Chion
Edited and translated by Claudia Gorbman

Music in Cinema

Summary:
I find this book called Music in Film captivating and quite thought-provoking. The author acknowledges the rich history of music in cinema, from the early days of devices like the praxinoscope and kinetoscope to the diverse range of musical styles and genres that have been integrated into films. It raises questions about the purpose of music in cinema and the complex relationship between music and film. The author also expresses a desire to provide a comprehensive overview of this subject while avoiding oversimplification.

Why I Like This Book so Far:
As a music & film student, I find this book intriguing for several reasons. Firstly, it recognizes the vast history of music in cinema, going beyond the conventional notion of “the cinema” and acknowledging the diverse influences and traditions that have shaped the use of music in films. This inclusive approach aligns with my own belief in the importance of understanding the diverse cultural and artistic contexts of music in cinema.

Secondly, the book raises thought-provoking questions about the purpose of music in films, such as why music is used to accompany moving images and spoken dialogue, and how it can impact the emotional experience of the audience. These questions resonate with my own curiosity and desire to explore the multifaceted relationship between music and film.

Thirdly, the author’s intention to provide a comprehensive overview of significant examples of music in cinema, while acknowledging the limitations of exhaustive detail, is appealing to me as a student. The book offers a balanced and comprehensive approach to studying the subject, without oversimplifying or favoring certain films over others.

The author finds it difficult to view history solely through the lens of winners and losers, or to solely praise masterpieces while disregarding other works. As a result, unlike some current and past writing on the subject, particularly in France, this book may be perceived as indulgent towards a wide range of films and recent aesthetic trends, which may come across as guilty to some. The author’s aim is to inform readers and engage in thoughtful reflection, without resorting to oversimplification. This doesn’t mean that all films are liked, but I do believe that each film deserves recognition for its artistic ambitions, including the intent to entertain.

Parsons Playlists: 1 Hour Walk

Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student manager Xipeng (class of 2024) and features some walking music.

1 Hour Walk

This playlist is from one of my favorite producers for his one-hour walk in Seoul city. It is also the playlist I listened to when I was taking a walk by the Thames River in London.

Antonio Carlos Jobim – “Arpoador”

Electric Light Orchestra – “Mr. Blue Sky”

Corinne Bailey Rae – “Do You Ever Think Of Me?”

Michael Franks – “All Dressed Up With Nowhere To Go”

Jeff Cascaro – “The Sun Is Shining For Our Love”

Jordan Rakei – “Wind Parade”

Deborah Bond – “stride”

Mamas Gun – “This Is The Day”

Light & Salt – “아카시아 아가씨 (Lady Acacia)”

Steely Dan – “My Rival”

Tomita Lab feat. Isono-kun – “Flavor (7+ Version)”

Stevie Wonder – “Never In Your Sun”

D’Sound – “I Can Get Over You”

Andrew Gold – “Never Let Her Slip Away”

Here is a link to the whole playlist on YouTube: https://youtube.com/playlist?list=PLU94rco57ZexmFFjw0DzFEFRo_13odUcu

Arachnophonia: Chopin – Ballade in G minor, op. 23

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Xipeng (class of 2024) and features Chopin’s Ballade in G Minor, Op. 23. Thanks, Xipeng!

Frédéric Chopin – Ballade No. 1 in g minor, op. 23

Portrait of Chopin by Louis Gallait

Portrait of Chopin by Louis Gallait (1843)

The Op.23 Ballade is undoubtedly one of Frederic Chopin’s most representative works, and it was created between 1831 and 1835, during Chopin’s first few years in Paris. Completed in 1835 and published a year later it was followed by three more in this new genre: Op.38 Ballade in F Major, Op.47 Ballade in A-Flat Major, and Op.52 Ballade in F minor, published in succession till 1842. Discussion of the genre “ballade” is inevitable. It has been said that Chopin created a new genre in applying the titles of these pieces, at least for his own purposes.

According to Edward Hirsch, the English “ballad” represents a narrative song, a poem that tells and preserves a story orally. There are several vital features Hirsh mentions regarding the ballad that are relevant to the interpretation of Op.23 Ballade’s structure: an abrupt introduction, an emotionally intense refrain and overall a voice of an individual representing the community. In composing the Op.23 Ballade, Chopin was influenced by personal turbulence in midst of a turbulent social environment; thus, he expressed inner struggle and nostalgia, which, at the same time, also represented other Polish emigres’ grief and indignation and his own homesickness for the old country.

As Robert Schumann wrote in 1836: “It seems to me to be the work closest to his genius (though not the most brilliant). I even told him that it is my favorite of all of all his works. After a long, reflective pause he told me emphatically: ‘I am glad, because I too like it the best, it is my dearest work’”. The g minor ballade is unique being the representative of the public voice during the 1830s and the epitome of that specific era; meanwhile, it can still appeal to the audience’s sympathy and inspire imagination when performing in the 21st century.

Our library has many different pianistsrecordings of Chopin’s Ballades. Feel free to check out books/scores/CDs at the music library!