Dr. Fuddle's Musical IQ Test 18

Answers to Musical IQ Test 17

1. d. Both B and C
2. c. Edward Grieg
3. a. The skill of performance
4. b. Johann Sebastian Bach
5. d. There is no proper answer to this question

Claudio Arrau - Beethoven Sonata No. 32 - 1st Mvmt. (1/2)

Sugar Plum Fairy by P.Tchaikovsky - Glass Harp

Happy Holidays!

Dr. Fuddle's Musical IQ Test 17

Answers to Musical IQ Test 16

1. a. Ludwig van Beethoven
2. b. Franz Schubert
3. c. Johann Sebastian Bach
4. a. a symbol on the top staff mostly indicating the notes above middle C
5. c. Wolfgang Amadeus Mozart

MEET KATHY

“I think we should see if there's away in," Antonio said, walking over to stand beside Tyler, who shuddered at the thought of entering the dark manor.
"Are you out of your mind? We can't go in there. That's criminal trespassing!"
Kathy reprimanded. "Besides, I heard there was a murder in there a long time ago."
"That's just a rumor," Leonard replied.
"Maybe there're a few ghosts having a party in there besides Mrs. Harrington,"Antonio added, just to annoy Kathy. “No disrespect intended, Tyler.”
“Well,as a matter of fact,” Tyler began, “now that you mention it...”
“Oh great!” Kathy said. “Now you're going to tell us you've seen ghosts, too?”
“I did," Tyler said, getting up enough nerve to tell the rest of his story. "I saw a man sitting at a grand piano playing mom's piece. And I could see through him. But there were others, too, dressed from a long time ago, really old-fashioned.”
“I’m out of here!!” Kathy screamed, making a beeline for the driveway.
Leonard went after her and ushered her back to the others.
She liked his arm around her shoulders.
“Stop worrying,Kathy," he said. "Besides there won't be a way to get in. And even if there is, let’s check it out. I want to prove to everyone once and for all there’s no such thing as ghosts."
The gathering clouds hovered thicker and blacker above the deserted street. The friends followed Tyler and Antonio around the corner up onto the back porch. "No one will ever know we're doing this except us," Tyler said. He shivered, thinking of the hundreds of old stories about this mansion--the kinds of stories grandmothers told from their front porches on dark summer nights when there was nothing else to do. But of course, he didn’t let on to the others about his fears.
Antonio tried to open the back door, but it was locked.
“Okay, see?” Kathy said. “Time to go home.”
Then a strong gust of wind blew and they all heard it clearly. Though just a tiny click, it seemed like an explosion. Antonio tried the ornate door knob once again and this time found the door was unlocked.
“Hey, it opened—just for us. Let’s go in,” Tyler said, making a move.
"Are you crazy?" Kathy said. "Some derelict could be camping out in there waiting to kill us! Let's get out of here!"

Mussorgsky, Pictures at an Exhibition, Promenade and Gnomus Part Two

Horowitz plays this Mussorgsky masterpiece.

Mussorgsky, Pictures at an Exhibition, Promenade and Gnomus Part One

Horowitz plays this Mussorgsky masterpiece.

The Heiligenstadt Testament ...

is a letter written by Ludwig van Beethoven to his brothers Carl and Johann at Heiligenstadt (today part of Vienna) on 6 October 1802.

It reflects his despair over his increasing deafness and his desire to overcome his physical and emotional ailments in order to complete his artistic destiny. Beethoven kept the document hidden among his private papers for the rest of his life, and probably never showed it to anyone. It was discovered in March 1827, after Beethoven's death, by Anton Schindler and Stephan von Breuming, who had it published the following October.

A curiosity of the document is that, while Carl's name appears in the appropriate places, blank spaces are left where Johann's name should appear (as in the upper right corner of the accompanying image). There have been numerous proposed explanations for this, ranging from Beethoven's uncertainty as to whether Johann's full name (Nikolaus Johann) should be used on this quasi-legal document, to his mixed feelings of attachment to his brothers, to transference of his lifelong hatred of the boys' alcoholic, abusive father (ten years dead in 1802), also named Johann.

Lockwood, Lewis (2003). Beethoven: The Music and the Life. New York, NY: W. W. Norton & Company. ISBN 0-393-32638-1.

THE HEILIGENSTADT TESTAMENT

For my brothers Carl and Johann Beethoven

Oh you men who think or say that I am malevolent, stubborn, or misanthropic, how greatly do you wrong me. You do not know the secret cause which makes me seem that way to you. From childhood on, my heart and soul have been full of the tender feeling of goodwill, and I was even inclined to accomplish great things. But, think that for six years now I have been hopelessly afflicted, made worse by senseless physicians, from year to year deceived with hopes of improvement, finally compelled to face the prospect of a lasting malady (whose cure will take years or, perhaps, be impossible).

Though born with a fiery, active temperament, even susceptible to the diversions of society, I was soon compelled to isolate myself, to live life alone. If at times I tried to forget all this, oh, how harshly was I flung back by the doubly sad experience of my bad hearing. Yet it was impossible for me to say to people, "Speak Louder, shout, for I am deaf". Oh, how could I possibly admit an infirmity in the one sense which ought to be more perfect in me than others, a sense which I once possessed in the hightést perfection, a perfection such as few in my profession enjoy or ever have enjoyed. – Oh I cannot do it; therefore forgive me when you see me draw back when I would have gladly mingled with you.

My misfortune is doubly painful to me because I am bound to be misunderstood; for me there can be no relaxation with my fellow men, no refined conversations, no mutual exchange of ideas. I must live almost alone, like one who has been banished. I can mix with society only as much as true necessity demands. If I approach near to people a hot terror seizes upon me, and I fear being exposed to the danger that my condition might be noticed. Thus it has been during the last six months which I have spent in the country. By ordering me to spare my hearing as much as possible, my intelligent doctor almost fell in with my own present frame of mind, though sometimes I ran counter to it by yielding to my desire for companionship.

But what a humiliation for me when someone standing next to me heard a flute in the distance and I heard nothing, or someone standing next to me heard a shepherd singing and again I heard nothing. Such incidents drove me almost to despair; a little more of that and I would have ended my life. It was only my art that held me back. Oh, it seemed to me impossible to leave the world until I had forth all that I felt was within me. So I endured this wretched existence, truly wretched for so susceptible a body, which can be thrown by a sudden change from the best condition to the worst. Patience, they say, is what I must now choose for my guide, and I have done so - I hope my determination will remain firm to endure until it pleases the inexorable Parcae to break the thread. Perhaps I shall get better, perhaps not; I am ready. - Forced to become a philosopher already in my twenty-eight year, oh, it is not easy, and for the artist much more difficult than for anyone else. Divine One, thou seest my inmost soul thou knowest that therein dwells the love of mankind and the desire to do good. Oh, fellow men, when at some point you read this, consider then that you have done me injustice. Someone who has had misfortune may console himself to find a similar case to his, who despite all the limitations of Nature nevertheless did everything within his powers to become accepted among worthy artist and men.

Dr. Fuddle's Musical IQ Test 16

Answers to Musical IQ Test 15

1. c. Bach
2. d. Mahler
3. d. cello
4. c. Frederick Chopin
5. a. a rapid scale produced by sliding fingers or hands from one note to another

Vivaldi, Autumn

by NaturesBeatingHearts



Antonio Vivaldi (1678-1741) is known for his inspirational songs called "The Four Seasons". "Spring" ("La primavera"), "Summer" ("L'estate"), "Autumn" / "Fall" ("L'autunno") and "Winter" ("L'inverno") are some of the his most popular creations and they were written to go along with four sonnets called, of course, Spring, Summer, Autumn and Winter.

MEET ANTONIO

Tyler could see Antonio standing outside down the block, near an open garage. They shared the exact same birthday and felt like non-identical twins, except his Latin friend looked much older than he did. Compared to Tyler, Antonio was athletically built. The party always started when Antonio arrived with his striking good looks and ready-for-anything attitude. Lately, though, he was going through a rebellious, spiked hair stage and hanging out with guys very unlike Tyler. This was exactly what he was doing at that moment.

As Tyler and Christina approached, Christina covered her ears. The sound of raucous behavior and dissonant music upset her. Tyler grasped her hand. He already regretted bringing her here.

"Hey, Antonio, what’s up?" Tyler asked. The music stopped. Several boys snickered at the sight of the conservative boy and his little sister.

Antonio joined Tyler and Christina. "Hey, Tyler!" he said. "I didn't expect to see you here!"

"Tell them to get lost," a rough voice yelled.

"Knock it off," Antonio said. "They’re my friends."

Tyler appreciated Antonio’s sticking up for them, knowing it wasn’t the easy thing to do. But he didn’t understand why Antonio wanted to hang out with these guys, especially since they seemed to be getting meaner lately. They didn’t used to be, but they were turning into bullies. A couple of them had even been suspended from school.

"It's happened!" Tyler said.

"What’s happened?"

The biggest of the boys in the garage came out. He leered at Antonio and said in a fake sing-songy voice, "Why don't you just run along now and play with your little friends? Maybe you can play a game with the girlie who can't talk and her freaky little doll." The other boys laughed.

Tyler glared at them, picking Christina up and wiping away her tears.

"I told you to knock it off!" Antonio said in his face.

"You'll never be good enough to stay in our band anyway."

Antonio looked stricken.

"He’s better than you’ll ever be!” Tyler yelled. “Come on, Christina, don’t pay any attention to these jerks.” Before turning away he said to Antonio, “Will you meet us later?"

"Sure, just give me a few minutes," Antonio replied. "But what's this all about?"

"You'll find out soon enough.” Tyler lowered his voice. “Just meet us in thirty minutes at the corner of Oak and Willow."

[excerpt from Dr. Fuddle and the Gold Baton]

Franz Schubert, Impromptu in A-flat Major, Op. 90, Nol. 4, performed by Krystain Zimerman

Zimerman studied at the University of Music in Katowice under Andrzej Jasinki. His career was launched when he won the 1975 Warsaw International Frederick Chopin Piano Competition. He has toured widely and made a number of recordings. Since 1996 he has taught piano at the Academy of Music in Basel, Switzerland.

Zimerman is best known for his interpretations of Romantic music, but has performed a wide variety of classical pieces as well. He has also been a supporter of contemporary music.

Dr. Fuddle's Musical IQ Test 15

Answers to Musical IQ Test 14

1. c Mendelssohn
2. d Liszt
3. c Niccolò Paganini
4. c four
5. c John Cage

King's College Cambridge 2011 Hallelujah Chorus, Handel Messiah

In many parts of the world, it is the accepted practice for the audience to stand for this section of the performance. The tradition is said to have originated with the first London performance of Messiah, which was attended by King George II. As the first notes of the triumphant Hallelujah Chorus rang out, the king rose to his feet and remained standing until the end of the chorus. Royal protocol has always dictated that when the monarch stands, everyone in the monarch's presence is also required to stand. Thus, the entire audience and orchestra stood when the king stood during the performance, initiating a tradition that has lasted more than two centuries.

Lang Lang Gone Mad!

Lang Lang inserting a martial-arts display in between bouts with the Prokofiev on the piano

Sergei Sergeyevich Prokofiev (23 April 1891[2] – 5 March 1953)was a Russian composer, pianist and conductor who mastered numerous musical genres and is regarded as one of the major composers of the 20th century. His best-known works include the March from Love for Three Oranges, the suite Lieutenant Kijé, the ballet Romeo and Juliet, and Peter and the Wolf. He also composed amongst many other works five piano concertos, nine completed piano sonatas and seven symphonies.

Dr. Fuddle's Musical IQ Test 14

Answers To Musical IQ Test 13

1. a. Henry Purcell
2. d. George Gershwin
3. d. None of the above
4. b. the ability to identify a note without any other musical support
5. a. Modest Mussorgsky