From “My Voice” to “Original Sound”: a small conversational lexicon for classical music newcomers who want a say.
When people talk about classical music, they often use their own vocabulary – which is not always easy for newcomers to understand. In a new episode of “Classic for the Tactless,” Katrin Neusmeyer and Wilhelm Senkowicz come to the end of some jargon and ask: What exactly does all this mean?
Does the gin and tonic help in involuntary music? How excited is Bohemian Rhapsody for the Queen? What on earth is a cantellina, and what does the word “bel canto”, so often used in a classical context, mean? All this is not only explained here, but also made audible with numerous musical examples.
Excerpts from the following recordings can be heard:
Anton Webern’s piece for strings from Ref 5
Berlin Philharmonic Orchestra, Herbert von Karajan
Joseph Haydn: Andante Beginning of the Symphony in G major Hob I/94
London Philharmonic Orchestra, Eugene Jochum
Donizetti: The finale of “La sonnambula”
Maria Callas – La Scala Choir and Orchestra, Leonard Bernstein (Warner)
Verdi: Song of Lady Macbeth from Act Two of “Macbeth”
Mara Zamperi – German Opera Orchestra in Berlin
G. Puccini: Scene from Act Two of “Tosca”
Maria Callas, Giuseppe Di Stefano, Tito Gobbi – La Scala Orchestra, F. de Sabata
WA Mozart: Symphony Beginning in D major KV 385 (“Haffner”)
1. Berlin Philharmonic Orchestra – Carl Bohm
2. Concentus musicus Vienna – Nikolaus Harnoncourt (Warner)
WA Mozart: “Deh vieni” from Act IV of “Le nozze di Figaro”
Lucia Pope – London Philharmonic Orchestra, Sir Georg Solti
Queen: “Bohemian Rhapsody” (EMI)
All labels, unless otherwise noted: Universal
“Classic for the Tactless” It is part of the “Musiksalon” podcast and appears every four weeks.
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