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Carl Frühling Byun Noll Seoul Arts Center 1403 1868 1937 2021
Carl Frühling (1868 – 1937) Austrian composer and pianist 00:00 00:28 Mäßig schnell 07:43 Anmutig bewegt 14:03 Andante 23:21 Allegro vivace Cl. 변현조 Vc.박노을 Pf. 조수현 Cl. Hyun-Jo Byun Vc. Noll Park Pf. Soo Hyun Cho 코리아나 챔버 뮤직 소사이어티 제78회 정기연주회 2021년 9월 16일 (목) 예술의전당 리사이틀 홀 Seoul Arts Center Recital Hall
Theater Münster Wolfgang Amadeus Mozart Berg Noll Scholz Filippo Bettoschi Youn Kristi Anna Isene Isene Christoph Stegemann 2018
Dramma giocoso in zwei Akten von Wolfgang Amadeus Mozart LEITUNG Musikalische Leitung: Golo Berg Inszenierung: Christian von Götz Bühnenbild: Lukas Noll Kostüme: Sarah Mittenbühler Choreinstudierung: Inna Batyuk Dramaturgie: Ronny Scholz BESETZUNG Don Giovanni: Filippo Bettoschi Il Commendatore: Stephan Klemm Donna Anna: Nina Koufochristou Don Ottavio: Youn-Seong Shim Donna Elvira: Kristi Anna Isene Leporello: Gregor Dalal Masetto: Christoph Stegemann Zerlina: Kathrin Filip Opernchor des Theaters Münster Sinfonieorchester Münster Video: Oliver Berg Produktion des Theaters Münster Premiere: 26. Mai 2018 Weitere Infos: (http•••)
Johann Sebastian Bach Helmut Müller Brühl Brühl Vivaldi Kolja Blacher Blacher Kufferath Hambitzer Noll Robert Hill Andreas Spering Schubert Schuster 1050 1805
1.Brandenburg Concerto No.1 in F major, BWV 1046 0:00 2.Concerto in A major for Oboe d amore, BWV 1055 18:05 3.Concerto in A minor for Violin, BWV 1041 32:13 4.Concerto in C major for Oboe & Violin, BWV 1060 44:41 5.Brandenburg Concerto No.2 in F major, BWV 1047 57:36 6.Concerto in A minor for 4 Harpsichords, BWV 1065 (after Vivaldi) 1:08:03 7.Concerto in D major for 3 Violins, BWV 1064 1:17:30 8.Concerto in D major for Oboe d amore, BWV 1053 1:34:01 9.Brandenburg Concerto No.3 in G major, BWV 1048 1:52:37 10.Concerto in D minor for Oboe, BWV 1059 2:03:28 11.Concerto in D minor for 3 Harpsichords, BWV 1063 2:16:58 12.Concerto in E major for Violin, BWV 1042 2:30:18 13.Brandenburg Concerto No.4 in G major, BWV 1049 2:45:53 14.Concerto in C major for 2 Harpsichords, BWV 1061 3:00:13 15.Concerto in D minor for 2 Violins, BWV 1043 3:18:15 16.Concerto in G minor for Oboe, BWV 1056 3:33:03 17.Brandenburg Concerto No.5 in D major, BWV 1050 3:42:38 18.Concerto in D minor for Violin, BWV 1052 4:02:30 19.Concerto in A minor for Harpsichord, Violins & Flute , BWV 1044 4:23:28 20.Brandenburg Concerto No.6 in B flat major, BWV 1051 4:42:55 Violin - Kolja Blacher +••.••(...)), Christine Pichlmeier +••.••(...)), Corinne Chapelle (13), Lisa Stewart (4, 15), Winifried Rademacher (5, 7), Elisabeth Kufferath (7) Violino piccolo - Winfried Rademacher (1) Oboe - Christian Hommel +••.••(...)) Oboe d´amore - Christian Hommel (2, 8) Harpsichord - Gerald Hambitzer +••.••(...)), Christoph Anselm Noll +••.••(...)), Robert Hill +••.••(...)), Andreas Spering (11) Recorder - Nadja Schubert (5, 13), Daniel Rothert (13) Flute - Karl Kaiser +••.••(...)) Trumpet - Jürgen Schuster (5) Cologne Chamber Orchestra Helmut Müller-Brühl
Moran Noll Gabriel Pareyon Romero 1993 2007
The beginning scrolls fast to get to the blogpost. To read the blog post directly go to (http•••) thanks and once you're at the blog post on the vid then watch in 720 at half speed or .5 - if possible. Part 1: (http•••) Part 2: (http•••) Adam Neely is Officially Debunked, Part 3 via Professors Patrick Edwin Moran, Peter Pesic, Thomas Noll and Micho Drudevich: Basic noncommutative math and noncommutative music theory: the case of 9/8 as the major 2nd music interval as the Bait and Switch math prof. gives an intro vid to noncommutative math (http•••) He leaves out music theory! Let's make this easy! In standard music theory you rely on logarithms and exponentials. (see vid for easy math music details) So then Peter Pesic tells us - "Music and the Making of Modern Science" google book "This then implied that without adding any new information (or hammers) that between the interval of the fourth and fifth emerges the ratio of 8:9, later called a tone or whole step because it is the step between these two intervals which according to Nichomachus "was in itself discordant, but was essential to filling out the greater of these intervals." p. 11 Boethius rejected the fifth hammer while Nichomachus accepted it - because 9/8 is the "vanishing mediator" that covers up the noncommutative phase truth of reality! Yin-yang-Void or the "three gunas" of India - the Tetraktys or Tetrad of Orthodox Pythagorean philosophy.... "Boethius tells us that "the fifth hammer, which was discordant with all, was rejected." p. 11 Why the discrepancy? Boethius UNDERSTOOD that 9/8 was being USED as the "bait and switch" to create geometric mean squared - and he rejected it as not truly Pythagorean. So on page 17 Peter Pesic admits that using 9/8 relies on the Geometric Mean Squared - and that is why it was rejected! But Peter Pesic (considering himself a highly sophisticated mathematical music analyst NEGLECTS to mention that 9/8 also is being used to cover up the NOncommutative Phase truth of 2/3 and 3/4 - what the Daoists and Orthodox Pythagoreans (and the three gunas of India) EMBRACE!! And if you don't know about it - then you don't know what you're missing! "On this basis it seems plausible that the fifth hammer that Pythagoras discarded as "dissonant with them all" was irrational with respect to them....But, as the Greeks already realized, a perfectly equal division of a tone (as of an octave) would require the use of an irrational magnitude as will become of crucial importance in chapter 4." p. 17, Peter Pesic - Professor at St. John's College is supposed to be "fancy" at sophisticated math music but he covers up the Ancient Advanced Acoustic Alchemy truth! "The non-commutative interval group considers intervals as pathways rather than sums....we inspect also the free non-commutative group F = Ž P, Q of ‘pythagorean pathways’, which is generated by two letters P and Q representing octave P8 and fifth P5, respectively." Noll, T. (2007). Musical intervals and special linear transformations. Journal of Mathematics and Music, 1+••.••(...)–137. doi:10.1080/17459730701375026 url to share this paper: (http•••) "On the other hand, the ancient Pythagorean musical scale, naturally leads to a simple quantum circle. We explore different musical scales, their mathematical generalizations and formalizations, and their possible quantum-geometric foundations. In this conceptual framework, we outline a diagramatical-categorical formulation for a quantum theory of symmetry, and further explore interesting musical and geometrical interconnections. "By taking the inverses L to 1/1 + L and 1/infinity=0, we can identify M = {0, 1, 1/2, 1/3,...}. The geometrical picture is that we have a circular object, unifying infinitely circular 'oscillating modes.' The limiting oscillating mode is the classical mode....All other modes are purely quantum 'virtual modes,' so we can not distinguish separate fibers over the classical points labeling these modes. The entire structure is a unified and irreducible quantum circle.... "The oscillating modes base space M...will be quantum (noncommutativity of the algebra V). "There is something profoundly quantum in all music. The Musical-Mathematical Mind: Patterns and Transformations edited by Gabriel Pareyon, Silvia Pina-Romero, Octavio A. Agustín-Aquino, Emilio Lluis-Puebla, chapter Music of the Quantum Circle by math professor Micho Durdevich Durdevich M: Algebro-Geometric Constructions of Subquantum Theories, Doctoral Thesis, Faculty of Physics, University of Belgrade, Serbia [in Serbian :)] (1993) (http•••)
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