The next night, which was a Saturday, Vasily shrank into his chair as the orchestra began to tune. The theatre had darkened, and all was ready for the play to go on. At least in the dark Vasily couldn't see his guests, but he knew they were there. The orchestra was to play incidental music to an Italian melodrama translated into Russian for the audience. The story itself was of little merit, with a lot of yelling and crying and such, but the music was pretty substantial. Vasily personally liked
It was midday in March, and Vasily was walking down the street, when a young boy about 10 years old came running up to him.
"Ilya! How good to see you again! How were your classes today?" Vasily hugged him and patted his head, and so they walked together down the road.
"It was alright. Arithmetic is still hard though. There was a test today, I don't think I did so well."
"Ah, that's too bad."
The weather was bitterly cold.
Few people were walking in the streets that afternoon. A storm was brewing to the west, and no prompting was needed to keep people indoors: wind gusts were like knives, and showers of flurries here and there felt more like fire when they hit the face.
Vasily Sergeyevich walked on. He had 2 more blocks to go.
He was returning from his rehearsal with the theater orchestra, and the heavy briefcase in his arms was his bassoon.
Last week's PTB provided a performance of Tchaikovsky's Fourth Suite. This week, I wanted to complete the set by providing performambces of the first three.
Tchaikovsky's orchestral output includes six "numbered" symphonies, the Manfred Symphony and a Symphony in E Flat (reassembled from sketches after his death). Additionally, between 1878 and 1887 Tchaikovsky wrote four "numbered" suites for orchestra, following the tradition of Bach
For January, the thematic arc for my podcasts is Theme and Variations, exploring them in many forms. Today's selection from the Podcast Vault includes two, if not three, works that explore the form, or at the very least how themes from Mozart's music can be transformed. That is the case in Liszt's pianistic tour de force Réminescences de “Don Juan” where arias from Don Giovanni get treated to some rethinking
Updated Jan-07-2014 at 11:31 by itywltmt