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«Leonard Bernstein: Leonard Bernstein - The Harvard Lectures» (2018) [WINYL] Wykonawca: Leonard Bernstein • DVDmax.pl
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Leonard Bernstein: Leonard Bernstein - The Harvard Lectures [13CD] Tytuł oryginalny
Leonard Bernstein - The Harvard Lectures
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10. I began by imagining myself...
11. Well, then I thought...
12. Let's make a simple analogy...
13. Maybe even a divine one...
14. But where do these notes come from...
15. This acoustical phenomenon...
16. All these upper notes...
17. The first overtone...
18. But more of that later...
19. But let's not make the mistake...
20. And that's how the tempered clavichord...
21. Now this is a substantive universal...
22. But let's be careful...
23. And there is always that blue note...
24. But even these twelve tones...
25. I trust you realize...
26. And again comes a great leap...
27. Now this means...
28. This is not to say that there were no drastic changes...
29. But meanwhile we are still in the Golden Age...
30. So, we're in the midst of a chromatic adventure...
31. And all by those progressions...
32. Now, I must point out...
33. Do you realize...
34. 1. Molto allegro
35. 2. Andante
36. 3. Menuett: Allegretto - Trio
37. 4. Allegro assai
38. Every once in a while...
39. Last week...
40. Amen, says Noam Chomsky...
41. I suppose what Chomsky is really after...
42. So, let's pull up our socks...
43. All right, let's try another one...
44. Why am I taking your time...
45. Well then...
46. I think it follows...
47. But first, what are these principles...
48. Transformational grammar...
49. But now just think of that sentence...
50. Since this is not a linguistics class...
51. Take the passive transformation...
52. Well, it hasn't brought us there...
53. Good - now just as three notes are linked together...
54. Now let's go back...
55. Now we are ready...
56. Now I want to take you...
57. Well, transformation, deletion, embedding, pronominalization...
58. I am sure I don't have to trouble...
59. Here I go...
60. I have asked myself...
61. I became so fascinated...
62. Let's take one such utterance...
63. Now imagine...
64. Now let's see...
65. Mozart's G minor Symphony...
66. Now our job is...
67. That introductory accompaniment...
68. What does this three-note design mean...
69. The reason I pick symmetry...
70. Now from here on...
71. And once again, we are back...
72. By far the chief transformational principle...
73. You see, one of the great failings...
74. Most people hearing Mozart's opening...
75. So what, you ask...
76. And if you are still not convinced...
77. These ambiguities...
78. For instance, in this same first movement...
79. So all these syntactic transformations of the same material...
80. He talks about this sonnet...
81. Because now it's time...
82. But now let's listen to...
83. Listen to the whole exposition...
84. Development coming up...
85. The circle of fifths again...
86. And that was all one single sentence...
87. The other day...
88. The first would show us one meaning...
89. Think of this famous passage...
90. A linguist would say...
91. Well, I replied, Chomsky would say...
92. Of course, that last metaphorical leap...
93. Terrific, said my blonde inquisitor...
94. In fact, when you think of the number...
95. All right, first let's look briefly...
96. Playing, that's the word...
97. But does this Stravinskian game concept...
98. There are three specific ways...
99. Now, having defined my usages of metaphor...
100. And here we are in trouble...
101. Are we feeling what Beethoven supposedly felt...
102. We will never know...
103. Now, if we accept this general idea...
104. In our last lecture...
105. We all recognize antithesis...
106. It can and it does...
107. And again, as in the poem...
108. In fact, it has been authoritatively suggested...
109. We can expand the idea...
110. What do you suppose...
111. What's seriously striking...
112. So why the Pastorale in this lecture...
113. Let's begin at the beginning...
114. But what of the more obvious melodic material...
115. But to develop how...
116. Now we have an insight...
117. But wait...
118. But why were just those two notes added...
119. The metaphor arises...
120. But in the ensuing four bars...
121. But that's not the main event...
122. Well, that's the beginning...
123. That's one of the questions...
124. This interference of the two frequencies...
125. But what are we to say...
126. It is to be found...
127. Now that's one way of looking...
128. At this point...
129. Even if you can succeed...
130. 1. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande (Allegro ma non troppo)
131. 2. Szene am Bach (Andante molto moto)
132. 3. Lustiges Zusammensein der Landleute (Allegro)
133. 4. Gewitter, Sturm (Allegro)
134. 5. Hirtengesang: Frohe und dankbare Gefuhle nach dem Sturm (Allegretto)
135. When I first wrote down the title...
136. Part of the danger...
137. The idea of ambiguity...
138. Similarly, in our second lecture...
139. Then what's the magic secret...
140. Enough of ambiguity...
141. The irony of all this...
142. But, mind you...
143. Where music was concerned...
144. Only think of...
145. And Chopin: well, we can't ignore Chopin...
146. And then, in the same little mazurka...
147. Foolish questions...
148. Let me try to read you...
149. Listen to this...
150. They began to intermingle...
151. The pivotal point...
152. So there is a dramatic change...
153. So it is after all not so surprising...
154. Now if you noticed...
155. You see, the music is trying hard...
156. So that instant in musical time...
157. Now Romeo is all stirred up...
158. 1. Romeo seul: Tristesse - Bruits de concerts et de Bal - Grand f?te chez Capulet: Andante malinconico e sostenuto
159. 2. Allegro - Larghetto espressivo
160. 3. Allegro
161. 4. Reunion des deux th?mes, du Larghetto et de l'Allegro
162. What a piece...
163. Quite unconsciously borrowed...
164. My purpose in all this...
165. Is it, says Wagner...
166. Every diminished seventh chord...
167. Now the remarkable thing is...
168. And this is what gives Tristan...
169. Vorspiel - Liebestod
170. That may be the slowest performance...
171. But ultimately...
172. Poetry has begun to show...
173. And when Debussy...
174. It's lovely, this dreaming...
175. For example, do you remember...
176. In fact, the ending of this piece...
177. Let me show you briefly...
178. This new episode that proceeds...
179. For instance, hardly have we had time...
180. Because the scale...
181. It's almost exactly what happens...
182. Literally translated...
183. But notice, too, that the example...
184. Both works have definitive beginnings...
185. Listen as I pay...
186. Prelude ? l'apr?s midi d'un faune (Vorspiel zu Der Nachmittag eines Faun)
187. Some crazy modern music...
188. Our lecture tonight...
189. 4. Feria
190. What a way to enter the twentieth century...
191. But 1908, if the truth be told...
192. These troubling presentiments...
193. So, now in 1908...
194. This is atonality...
195. A charming idea...
196. The unanswered Question
197. Is that luminous final triad...
198. I have recently been reading...
199. We have already referred to some of those...
200. In any case...
201. But for all these reasons...
202. Son of Tristan...
203. Now you look at those first two bars...
204. Of course, there are lots...
205. It's as though a new covenant...
206. Trouble is, that the new musical rules...
207. The kind of tonal feeling...
208. Of course, there are those who say...
209. It seems somehow inevitable...
210. Is there possibly the beginning...
211. And what about Beethoven's Ninth...
212. There are some of the problems...
213. Now let's jump ahead...
214. Let's put it another way...
215. First of all, Berg chose a tone row...
216. So, all in all...
217. Konzert fur Violine und Orchester (Auszug)
218. Fantastic...
219. It comes at a point...
220. 2. Allegro, ma sempre rubato
221. If this particularly demanding lecture...
222. If you really have been thinking...
223. But while restudying this work...
224. The twentieth century...
225. What do you do if you know all this...
226. It's very strange, how the pieces...
227. What exactly was this news...
228. We emerge from a cinema...
229. As you listen to this finale...
230. This is Mahler...
231. 4. Adagio, sehr langsam und noch zuruckhaltend
232. I know what you are thinking...
233. What about this...
234. I am plaguing you with this question...
235. Of course what he is really talking about...
236. But it was precisely...
237. Now I have just used two words...
238. In fact, it was Satie, Picasso, and Cocteau...
239. But our scene...
240. Even in the most...
241. For our purposes...
242. Musicologists are always pointing...
243. But bitonality does not only serve...
244. Of course, polytonality can and does...
245. Now what's going on...
246. And while you are in that record shop...
247. Of course, these asymmetries...
248. Brutal it may be...
249. Now, remember...
250. These are two sets...
251. Just cast an eye...
252. Now that page of music...
253. But the most striking semantic effect...
254. This new aesthetic relaxation...
255. Even some Germans...
256. You can see how the transformation...
257. Chomsky himself gives a classic example...
258. Very important, the ironic element...
259. So, it would seem...
260. But this neoclassic approach...
261. I think this is again a moment...
262. It's the essence...
263. If this poem were rewritten...
264. Why have I digressed...
265. Now can you understand...
266. Untermeyer called this...
267. Of course, with The Waste Land...
268. But the thing of it all is...
269. We are going to hear...
270. One has only learned to get...
271. Now I propose only because...
272. This union is possible only because...
273. But what has all this to do with Stravinsky...
274. And this is the essence...
275. Look: here is a joke...
276. Chilling, shattering, neoclassic...
277. Stravinsky's own aesthetic pronouncements...
278. But of course he was forced...
279. And now we are finally reading...
280. And then Mozart appears...
281. But this eclecticism knows no bounds...
282. Now all this I had planned to tell you...
283. You think that's funny...
284. How about that...
285. Then came the answer...
286. But why this particular misalliance...
287. My words are poor...
288. Prolog: You are about to hear a Latin version of Oedipous the King
289. Caedit nos pestis (1. Akt)
290. Liberi, vos liberabo
291. This is Creon, brother-in-law of Oedipus
292. Respondit deus
293. Oedipus questions the Fountain of Truth
294. Dicere non possum
295. Gloria!
296. The dispute of the princes attracts the attention of Jocasta (2. Akt)
297. Nonn' erubescite, reges
298. Ne probentur oracula
299. Ego senem cecici
300. The witness to the murder comes out of the shadow
301. Adest omniscius pastor
302. Nonne monstrum rescituri
303. And now you are going to hear that famous monolog...
304. Divum Jocastae caput mortuum!
305. Ecce! Regem Oedipoda
306. Va-le-di-co...
307. During that decade...
308. It was at this point that I wrote...
309. What interests me about it...
310. Is it possible...
311. It's as tough in the period...
312. And I believe...
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