Erika Bodom Videos
Komponist
- Norwegen
Letzte Aktualisierung
2024-06-16
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This serenade is by the very obscure Erika Bodom (dates given as 1861-1942) - I am not sure if she was any relation to the Norwegian landscape painter Erik Bodom. The piece is apparently based on a melody by one Joseph Geschwandtner, but I have not been able to find anything about him. The main theme actually sounds American - almost Country and Western. / / Played by Phillip Sear (http•••) (Email: •••@••• WhatsApp: (http•••) )
Julian Bream Isaac Albéniz Pujol Hofmeister Francisco Tárrega Yates Fortea Andrés Segovia Krieger Bodom 1860 1886 1892 1909 1911 1968 1970
Isaac Albeniz: +••.••(...)) Asturias (Leyenda - Preludio) Suite Española op.47 No5 in E minor (1886) Preludio - Chant d'Espagne op.232 No1 Section 1 0:00 A. Allegro ma non troppo (Toccata - Buleria) 1:23 Transition Section 2 1:29 B. Copla (Solea) 2:09 Malagueña 1 2:24 Marcato 2:40 Malagueña 2 3:03 A tempo (Toccata) 3:09 Copla (Solea) Section 1 3:40 A. Allegro ma non troppo (Toccata - Buleria) 5:02 Transition Section 3 5:08 C. Hymn (Lento) 5:35 Coda (Quasi andante) pizzicato (Toccata) Guitar: Julian Bream RCA 1970 (Vol 11)/ ASTURIAS. Suite espanola, Op. 47, no. 5 (1886); also published under the titles of Leyenda and Preludio from the Cantos de Espana. The sort of toccata with which this piece opens must be analysed more like a stylisation of the buleria with its characteristic alternated beat and not like a granaina as sometimes happens. The middle part, the copla, classically slower, is related to the soleá. (Rafael Andia)/ Asturias (Leyenda), named simply Leyenda by its composer, is a musical work by the Spanish composer and pianist Isaac Albéniz +••.••(...)). The piece, which lasts around six minutes in performance, was originally written for the piano and set in the key of G minor. It was first published in Barcelona, by Juan Bta. Pujol & Co., in 1892 as the prelude of a three-movement set entitled Chants d'Espagne. The name Asturias (Leyenda) was given to it posthumously by the German publisher Hofmeister, who included it in the 1911 "complete version" of the Suite española, although Albéniz never intended the piece for this suite. Despite the new name, this music is not considered suggestive of the folk music of the northern Spanish region of Asturias, but rather of Andalusian flamenco traditions (although the drama of the music is congruent with the landscape of the region of Asturias). Leyenda, Hofmeister's subtitle, means legend. The piece is noted for the delicate, intricate melody of its middle section and abrupt dynamic changes. Albéniz's biographer, Walter Aaron Clark, describes the piece as "pure Andalusian flamenco". In the main theme the piano mimics the guitar technique of alternating the thumb and fingers of the right hand, playing a pedal-note open string with the index finger and a melody with the thumb. The theme itself suggests the rhythm of the bulería—a fast flamenco form. The "marcato"/"staccato" markings suggest both guitar sounds and the footwork of a flamenco dancer. The piece sounds as though it is written in the Phrygian mode which is typical of bulerías. The second section is reminiscent of a copla—a sung verse following a specific form. Clark states that it is written in typical Albéniz form as it is "presented monophonically but doubled at the fifteenth for more fullness of sound. The music alters between a solo and accompaniment that is typical of flamenco. The short middle section of the piece is written in the style of a malagueña—another flamenco style piece. The malagueña borrows two motives from the previous copla and builds on them. The piece returns to its first theme until a slow "hymn-like" passage ends the piece. Guitar versions It is not possible to transcribe the piece note for note for guitar. The original version makes uses of the piano keyboard's wider range compared to the tessitura of the guitar, and the key is not suitable for the guitar. Many have attributed the first transcription for guitar to Francisco Tárrega who put it in its most recognizable key, E minor. According to the guitarist and guitar scholar Stanley Yates, the first guitar transcription of the piece was probably by Severino García Fortea, although Andrés Segovia's transcription is the most famous and most influential. The piece has become one of the most important works of the classical guitar repertoire. Robbie Krieger, guitarist of The Doors, uses a reworking of the melody from this classical piece in The Doors song "Spanish Caravan" from their 1968 album Waiting for the Sun. Iron Maiden quotes Asturias in their song titled Mother Russia. Also Children of Bodom attributed their Angels don't Kill song to Asturias.
___________________________________________________________ If you can't recognise 95% of the songs, you're not a real metal-fan ! But, here is the list : 00:08 SLIPKNOT - Duality 00:47 SYSTEM OF A DOWN - Chop suey! 01:25 APOCALYPTICA feat THE RASMUS - Life burns! 01:35 RAMMSTEIN - Du Hast 01:42 DIMMU BORGIR - Progenies of the great apocalypse 01:55 RAGE AGAINST THE MACHINE - Killing in the Name 02:09 AMON AMARTH - Runes to my memory 02:23 METALLICA - Enter Sandman 02:30 SLAYER - Raining Blood 02:37 MEGADETH - Symphony of Destruction 02:51 ARCH ENEMY - Nemesis 02:58 TRIVIUM - Dying in your arms 03:04 BREAKING BENJAMIN - The Diary of Jane 03:11 LINKIN PARK - Numb 03:18 SONATA ARCTICA - Paid in full 03:32 CHILDREN OF BODOM - Downfall 03:42 IRON MAIDEN - Fear of the dark 03:49 BULLET FOR MY VALENTINE - Tears don't fall 03:56 NIGHTWISH - Nemo 04:03 NIGHTWISH - I wish I had an angel 04:09 ELUVEITIE - Inis mona 04:17 MESHUGGAH - Stengah 04:23 SEPULTURA - Roots Bloody Roots 04:26 WITHIN TEMPTATION - Frozen 04:33 EDGUY - Superheroes 04:40 STRATOVARIUS - Eagleheart 04:54 DRAGONFORCE - Through the fire and flames 05:08 DREAM THEATER - Pull me under 05:14 METALLICA - Nothing else matters 05:16 DEEP PURPLE - Smoke on the water
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