In this episode Shaun and Hunter discuss Johann DeMeij's fifth symphony, titled, "Return to Middle Earth." Part 2 of 2

In this episode Shaun and Hunter discuss Johann DeMeij's fifth symphony, titled, "Return to Middle Earth." Part 1 of 2

Today we will discuss Johann De Meij’s Symphony No. 4 : Sinfonia Der Leider

Via Wind Repertory Project:

A selection of 19th-century German poetry inspired this symphony: three poems from Friedrich Rückerts’ Kindertotenlieder (Songs on the Death of Children) and three poems by Heinrich Heine and Hugo von Hofmannsthal, which, in the second movement of this impressive work, introduce themes of death, rebirth, and hope.

(Johann De Meijj’s) 4th Symphony for solo voice, children’s choir, and wind orchestra is inspired by various 19th-century German poems. The first three movements use lyrics from the same source as Gustav Mahler: Kindertotenlieder by Friedrich Rückert.

Today we will discuss Johann De Meij’s Symphony No. 4 : Sinfonia Der Leider

Via Wind Repertory Project:

A selection of 19th-century German poetry inspired this symphony: three poems from Friedrich Rückerts’ Kindertotenlieder (Songs on the Death of Children) and three poems by Heinrich Heine and Hugo von Hofmannsthal, which, in the second movement of this impressive work, introduce themes of death, rebirth, and hope.

(Johann De Meijj’s) 4th Symphony for solo voice, children’s choir, and wind orchestra is inspired by various 19th-century German poems. The first three movements use lyrics from the same source as Gustav Mahler: Kindertotenlieder by Friedrich Rückert.

Via Wikipedia:

Symphony No. 9 in D minor, Op. 125 is a choral symphony, the final complete symphony by Ludwig van Beethoven composed between 1822 and 1824. It was first performed in Vienna on 7 May 1824. Many critics and musicologists regard the symphony as a masterpiece of Western classical music and one of the supreme achievements in music history.[1][2] One of the best-known works in common practice music,[1] stands as one of the most frequently performed symphonies in the world.[3][4]

Via Wikipedia:

Symphony No. 9 in D minor, Op. 125 is a choral symphony, the final complete symphony by Ludwig van Beethoven composed between 1822 and 1824. It was first performed in Vienna on 7 May 1824. Many critics and musicologists regard the symphony as a masterpiece of Western classical music and one of the supreme achievements in music history.[1][2] One of the best-known works in common practice music,[1] stands as one of the most frequently performed symphonies in the world.[3][4]

For this episode, we have FIVE hosts!

Hunter Sigona, Shaun Rimkunas, Mary Haddix, Joel Kayser, and Hanif Lawrence.

Via Wikipedia:

Symphony No. 9 in D minor, Op. 125 is a choral symphony, the final complete symphony by Ludwig van Beethoven composed between 1822 and 1824. It was first performed in Vienna on 7 May 1824. Many critics and musicologists regard the symphony as a masterpiece of Western classical music and one of the supreme achievements in music history.[1][2] One of the best-known works in common practice music,[1] stands as one of the most frequently performed symphonies in the world.[3][4]

Still, Planet Earth shows clear similarities to The Big Apple -- for example, the use of electronic sounds. “The recorded city sounds in The Big Apple were a sort of heralds of the electronics that I use in the third, continuing the attainments of the second symphony rather than those of the first symphony. I use the extra-musical framework not so much programmatically but rather as a guideline, as a metaphor. When I think of motifs and fragments, I immediately know if they fit the framework or not. If they don’t, I save them for another piece.”

Still, Planet Earth shows clear similarities to The Big Apple -- for example, the use of electronic sounds. “The recorded city sounds in The Big Apple were a sort of heralds of the electronics that I use in the third, continuing the attainments of the second symphony rather than those of the first symphony. I use the extra-musical framework not so much programmatically but rather as a guideline, as a metaphor. When I think of motifs and fragments, I immediately know if they fit the framework or not. If they don’t, I save them for another piece.”

By 1984, John Williams’ film music was familiar to audiences the world over and it was only natural that the Los Angeles Olympic Organizing Committee would turn to the city’s most famous composer of popular instrumental music when they decided to commission a fanfare to be used during the Games. While it was an honor to be asked to compose such a piece of music, the prospect was not without its challenges. Leo Arnaud’s “Bugler’s Dream” fanfare (from his Charge Suite) had become synonymous with the Olympics since ABC began using it for its televised coverage of the Games in 1968. Any new composition would necessarily compete with the attachment listeners had developed to Arnaud’s music. At the same time, the opening fanfare was to be played by herald trumpets at all of the medal ceremonies and official Olympic events, so it had to be based on the harmonic overtones these instruments were able to produce.