Παρασκευή, 12 Απριλίου 2013

Η ΚΑΤΑΡΑ ΤΗΣ ΕΝΑΤΗΣ








 Επιμέλεια:
*Christos Sipsis
  Ίσως δεν γνωρίζετε ότι στην ιστορία της κλασικής μουσικής υπάρχει μια πρόληψη, συμφωνα με την οποία ο αριθμός 9 ειναι καταραμένος ... Σύμφωνα με την "αντίληψη" αυτή η ένατη συμφωνία ειναι πάντα και αναγκαστικά η τελευταια κάθε συνθετη. Όποιος μουσικός κανει το λαθος να συνθεσει 9 συμφωνίες πεθαίνει πριν να προλάβει να ολοκληρώσει την 10 συμφωνία του...

Η ΚΑΤΑΡΑ ΤΗΣ ΕΝΑΤΗΣ - Atterberg / Schnittke

Kurt Atterberg - Symphony No.9 - Part I.wmv 
 http://www.youtube.com/watch?v=B7R7OsvvnYg&feature=share&list=PL5F582D07D4B207D6
Kurt Magnus Atterberg (12 December 1887 – 15 February 1974) was a Swedish composer and engineer. He is best known for his symphonies, operas and ballets. He cited the Russians, Brahms and Reger as his musical influences, and his works combine their compositional styles with Swedish folk tunes.

Kurt Atterberg - Symphony No.9 - Part II.wmv
 http://www.youtube.com/watch?v=RNGh-igyLWk&feature=share&list=PL5F582D07D4B207D6
Biography
  Atterberg was born in Gothenburg. His father was Anders Johan Atterberg, engineer and brother of famous chemist Albert Atterberg. His mother, Elvira Uddman, was the daughter of a famous male opera singer.
  In 1902, Atterberg began learning the cello, having been inspired by a concert by the Brussels String Quartet, featuring a performance of Beethoven's eighth string quartet. Six years later he became a performer in the Stockholm Concert Society, now known as the Royal Stockholm Philharmonic Orchestra, as well as publishing his first completed work, the Rhapsody for Piano and Orchestra, Op. 1. His String Quartet No. 1 in D Major, Op. 2, soon followed.
Kurt Atterberg - Symphony No.9 - Part III.wmv
 http://www.youtube.com/watch?v=Nkmk489ze50&feature=share&list=PL5F582D07D4B207D6
While already studying electrical engineering at the Royal Institute of Technology, Atterberg also enrolled at the Royal College of Music, Stockholm in 1910 with a score of his Rhapsody and an incomplete version of his Symphony No. 1. There he studied composition and orchestration under the composer Andreas Hallén. He earned his engineering diploma a year later, as well as being awarded a State Music Fellowship. He made his conducting debut at a concert in Gothenburg in 1912, premiering his first symphony and the Concert Overture in A Minor, Op. 4.
  Although continuing to compose and conduct, Atterberg enjoyed a fulfilling career in several different organisations. He accepted a post at the Swedish Patent and Registration Office in 1912, going on to become a head of department in 1936, and working there until his retirement in 1968. He co-founded the Society of Swedish Composers in 1918, alongside other prominent composers such as Ture Rangström, Wilhelm Stenhammar and Hugo Alfvén. Six years later he was elected president of the society, maintaining the position until 1947. At a similar time, he became president of the Svenska Tonsättares Internationella Musikbyrå, which he also helped to found, and of which his presidency lasted until 1943. Other jobs taken on by Atterberg included his work as a music critic for the Stockholms Tidningen from 1919 to '57, and as secretary of the Royal Swedish Academy of Music from 1940 to '53.
  At the age of 86, Atterberg died on 15 February 1974 in Stockholm, and was buried there in the Northern Cemetery.
Kurt Atterberg - Symphony No.9 - Part IV.wmv
 http://www.youtube.com/watch?v=rwg7cWbBbuo&feature=share&list=PL5F582D07D4B207D6
Kurt Atterberg - Wikipedia, the free encyclopedia
Works
Atterberg composed nine symphonies. His Ninth Symphony (entitled Sinfonia Visionaria) was, like Beethoven's, scored for orchestra and chorus with vocal soloists. His output also includes six concertante works (including his Rhapsody, Op. 1, and a cello concerto), nine orchestral suites, three string quartets, five operas and two ballets.
http://en.wikipedia.org/wiki/Kurt_Atterberg

Kurt Atterberg - Symphony No.9 - Part V.wmv
 http://www.youtube.com/watch?v=DpWIz4Xygfg&feature=share&list=PL5F582D07D4B207D6

Symphony No. 9 by Alfred Schnittke was written two years before his death in 1998. The reconstruction of the manuscript of a barely readable score was made by a younger generation composer – Alexander Raskatov – hired by Irina Schnittke, the composer's widow. Raskatov not only reconstructed Schnittke’s Ninth but also wrote his own composition: Nunc dimittis – In memoriam Alfred Schnittke. The premiere recording of both pieces was conducted by Dennis Russell Davies.
  Schnittke’s Symphony No. 9 is written in three movements – each consecutively faster than the previous one:
[Andante]
Moderato
Presto
The opening movement originally had no tempo marking: Raskatov added one following Irina Schnittke’s suggestion that the composer’s idea was to escalate from a slow movement at the beginning to a faster one in the middle and a very fast movement at the end.
[edit]Instrumentation
In the Symphony No. 9 Schnittke employed a large orchestra, including triple woodwind, four horns, three trumpets, three trombones, tuba, strings, three percussionists and harpsichord.
  The Andante begins with the strings followed by the clarinet and the trombone. Raskatov called that section: “voice from beyond”. Consecutive events are interrupted by violent brass. The clarinet plays the leading role, gradually dominating the woodwind section.
  The Moderato central movement begins with the strings followed by the wind instruments and harpsichord. The horn plays a delusive solo and the drum beats out a rhythm announcing a fast finale. That movement is a transformation from the first movement’s lamentation into the third movement’s impetus.

The Presto begins with the strings playing against the beat and the wind instruments building the wall of the sound. The strings and the piccolo carry on the dialogue. The harpsichord comes back for a while. A short wind chorale increases and collapses and dissonant pianissimo chords close the work.
Συνεχιζεται
Schnittke: Symphony No. 9 / Raskatov: Nunc Dimittis
http://player.qobuz.com/#!/album/0002894766994
Symphony No. 9 (Schnittke) - Wikipedia, the free encyclopedia

Critical reactions
  Schnittke’s Symphony No. 9 in the version prepared by Raskatov as well as its world premiere recording conducted by Davies have given rise to diverse – and conflicting – opinions.
  James Leonard from allmusic.com writes: Schnittke’s Ninth may or may not be judged the equal or even the superior of his Eighth, but it is vastly better than Raskatov’s own Nunc dimittis that accompanies it here and ends his review with a cutting remark: But after hearing it [Nunc dimittis], the listener can be certain that its composer [Raskatov] added nothing of his own music to the score of Schnittke’s Ninth.[1]
  Robert Carl from ArkivMusic.com writes: I can’t help [in interpretation of Symphony No. 9] but feel making a piece out of the most basic, even banal, material may be something of a didactic point, or a dark joke in the spirit of Soviet era humor (even though the piece postdates the fall of that empire) and then moves to the review Nunc dimittis stating: No matter what my reservations about the Schnittke, however, the Raskatov is a revelation.[2]
  Composer and conductor William C. White concisely analyzes and interprets the Symphony No. 9 by Schnittke on his own web site. He writes: I think this is music of someone who is already dead – as Schnittke had been, having been pronounced clinically dead on several occasions during his strokes. Much of the music sounds like the exploratory wanderings of a ghost during his first encounter with a new, otherworldly universe and then concludes: It is a delicate work, to be sure, and I think there is a lot of richness to keep exploring in its nuances.[3] http://en.wikipedia.org/wiki/Symphony_No._9_(Schnittke)

Η ΚΑΤΑΡΑ ΤΗΣ ΕΝΑΤΗΣ -1. Beethoven 

 Ενας πρωτος συνθετης που πεθανε πριν να προλαβει να γραψει 10 συμφωνιες ειναι φυσικα ο μέγιστος Ludwig van Beethoven
https://www.facebook.com/photo.php?fbid=10200134207452138&set=o.190648144314729&type=1&theater
Bernstein in Vienna: Beethoven Symphony No. 9 in D Minor (1970)
 http://youtu.be/3MnGfhJCK_g

 Η γεννηση της προληψης.

Curse of the ninthWikipediaThe curse of the ninth is a superstition connected with the history of classical music. In essence, it is the belief that a "ninth symphony" is destined to be a composer's last; i.e. that they will be "fated" to die after writing it, or before completing a "tenth". To those who give credence to the notion, a composer who produces a ninth symphony has reached a decisive landmark – and to then embark on a tenth is a challenge to "fate".
 The idea is really a folk-notion that persists in popular journalism, and is not supported in musicology or serious music criticism. Though composers can indeed be found who died after achieving nine symphonies (the most famous example being Ludwig van Beethoven), "nine" is not a statistically predominant total in the history of the symphony. In addition, while some very prominent composers are regularly adduced as examples, the fact is that several of them are only credited with having "composed nine symphonies" as a result of error or oversimplification

Mahler: Das Lied von der Erde - Haitink/RCO(2006Live)
 http://youtu.be/spsBF5_CDfI
Beginnings
According to Arnold Schoenberg, this superstition began with Mahler, who, after writing his Eighth Symphony, wrote Das Lied von der Erde. Then he wrote his Ninth Symphony and thought he had beaten the curse, but died with his Tenth Symphony incomplete.[1]
 In an essay about Mahler, Schoenberg wrote: "It seems that the Ninth is a limit. He who wants to go beyond it must pass away. It seems as if something might be imparted to us in the Tenth which we ought not yet to know, for which we are not ready. Those who have written a Ninth stood too close to the hereafter."
Curse of the ninth - Wikipedia, the free encyclopedia
http://en.wikipedia.org/wiki/Curse_of_the_ninth
Bruno Walter & Wiener Philharmoniker - Gustav Mahler Symphony No. 9 (1938)
 http://youtu.be/3eUKpw21ASc

ΒRUCKNER
"Bruckner died before completing the work that is now played as his (unfinished) "Ninth Symphony"...
Anton Bruckner's Symphony No. 9 in D minor is the last symphony upon which he worked, leaving the last movement incomplete at the time of his death in 1896. The symphony was premiered under Ferdinand Löwe in Vienna in 1903, after Bruckner's death. Bruckner dedicated this symphony "to the beloved God" (in German, "dem lieben Gott").
(While it may seem logical to call this work "Symphony in D minor, opus posthumous," that usually refers to the Symphony No. 0 in D minor). Wiki

Anton Bruckner - Symphony No. 9 in D Minor -- Wilhelm Furtwängler (Berlin, 1944)
http://www.youtube.com/watch?v=guYmVNRAjjI&feature=youtu.be

Description
  The symphony has four movements, although the fourth is incomplete and fragmentary. Of this finale, it seems that much material in full score may have been lost very soon after the composer's death, and therefore large sections exist only in two-stave sketch format. The placement of the Scherzo second, and the key, D minor, are only two elements this work has in common with Beethoven's Ninth Symphony.

The symphony is so often performed without any sort of finale that some authors describe "the form of this symphony [as] ... a massive arch, two slow movements straddling an energetic Scherzo."

Fourth movement
Bruckner had conceived the entire movement; whether the manuscripts he left would have made up the final form of the Finale is debatable. Several bifolios of the emerging autograph score survived, consecutively numbered by Bruckner himself, as well as numerous discarded bifolios and particellos sketches. The surviving manuscripts were all systematically ordered and published in a notable facsimile reprint, edited by J. A. Phillips, in the Bruckner Complete Edition, Vienna.
Because of Bruckner's individual composing habits, reconstructing the Finale is in some ways easier, and in some ways harder, than it would be to reconstruct an unfinished piece by another composer. Compounding the problem, collectible hunters ransacked Bruckner's house soon after his death. Sketches for the Finale have been found as far away from Austria as Washington D.C.
Large portions of the movement were almost completely orchestrated, and even some eminent sketches have been found for the coda (the initial crescendo/28 bars, and the progression towards the final cadence, even proceeding into the final tonic pedalpoint/in all 32 bars), but only hearsay suggesting the coda would have integrated themes from all four movements: The Bruckner scholars Max Graf and Max Auer reported that they have actually seen such a sketch when they had access to the manuscripts, at that time in the possession of Franz Schalk. Today such a sketch appears to be lost.
More importantly than the loss of the score bifolios of the coda itself, composer and Bruckner scholar Robert Simpson asserts in his book The Essence of Bruckner, is that the sketches that survive do not support the momentum to support such a conclusion. Some people[who?] think that there is no real inner continuity or coherence inherent to indicate an organically growing musical structure. But in fact, the publications of the Bruckner-Gesamtausgabe edited by John Phillips revealed that Bruckner has left an emerging autograph score, numbered consecutively bifolio by bifolio, which constituted the intact score, at least up to the beginning of the coda. Around 50% of this final phase must be considered lost today.
Bruckner knew he might not live to complete this symphony and suggested his Te Deum be played at the end of the concert. The presence in the sketches of the figuration heard in quarter-notes at the outset of the Te Deum led to a supposition that Bruckner was composing a link or transition between the two works. In fact, the sketch for such a transition can be found on two bifolios of the emerging autograph score. Some people think that at best this would have been a makeshift solution. The C major setting of the Te Deum conflicts with the D minor setting of the rest of the symphony. Because of this tonal clash, the Te Deum is rarely used as the Finale. However, others think it better to follow the composer's own wish and so argue against the tonal clash theory, since the Adagio ends in another key (E major) as well.
Bruckner:Symphony No. 9 in D minor ~ Finale (3 versions)
http://www.youtube.com/watch?v=3NBSY7BkB_s&feature=youtu.be

MILHAUD

 

Darius Milhaud: Sinfonia n.9 op.380 (1959) (1/2)
http://www.youtube.com/watch?v=i_BsUKxtbac&feature=youtu.be
Darius Milhaud: Sinfonia n.9 op.380 (1959) (2/2)
http://www.youtube.com/watch?v=wdW_zrrSf4A&feature=youtu.be


 




DVORAK

Τεταρτος συνθετης που πεθανε χωρις να προλαβει να συνθεσει την 10η συμφωνία του ειναι ο Τσεχος (Βοημος) ρομαντικός Antonin Dvorak. Βεβαια ... περιμενε 11 ολοκληρα χρόνια, εκεινοι όμως που πιστευουν στην καταρα της 9 ειναι σίγουροι ότι αν ειχε προσπαθησει να γραψει την επομενη του θα ειχε πεθανει πολύ νωριτερα...


''The "Curse of the Ninth Symphony" is a superstition among composers that implies that after their ninth symphony is written, they will die. This of course is only a myth, but some composers did actually take it seriously. The curse dates all the way back to Beethoven, but the composers who lived before him do not apply because they wrote many more than nine symphonies.[...]
The composers that do fall under the category of victims are, Ludwig Van Beethoven, Anton Bruckner, Anton Dvorak, Aleksander Glasunov, Gustav Mahler, Louis Spohr and Ralph Vaughan Williams
[...]
Ιn the words of composer Arnold Schoenberg, "It seems that the ninth is a limit. He who wants to go beyond it must pass away. It seems as if something might be imparted to us in the Tenth which we ought not yet to know, for which we are not ready. Those who have written a Ninth stood too close to the hereafter." [...] Antonin Dvorak lived from 1841 to 1904 was a Bohemian composer who wrote his ninth symphony in New York, in 1893. This symphony was subtitled the "New World" symphony. He died eleven years later without writing another symphony. Maybe if he began writing a tenth he would have died sooner. At the end of this episode I will play an excerpt from this symphony for you, so stay tuned. "
Music History Podcast: The Curse of the Ninth Symphony
 http://www.musichistorypodcast.com/2007/08/the-curse-of-ninth-symphony.html

Symphony No. 9 (Dvořák) - Wikipedia, the free encyclopedia
 http://en.wikipedia.org/wiki/Symphony_No._9_
%28Dvo%C5%99%C3%A1k%29
The Symphony No. 9 in E minor, From the New World, Op. 95, B. 178 (Czech: Symfonie č. 9 e moll „Z nového světa“), popularly known as the New World Symphony, was composed by Antonín Dvořák in 1893 while he was the director of the National Conservatory of Music of America from 1892 to 1895. It is by far his most popular symphony, and one of the most popular in the modern repertoire. In older literature and recordings this symphony is often indicated as Symphony No. 5. Neil Armstrong took a recording of the New World Symphony to the Moon during the Apollo 11 mission, the first Moon landing, in 1969.
Influences
Dvořák was interested in Native American music and the African-American spirituals he heard in America. Upon his arrival in America, he stated:
I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them.[4]
The symphony was commissioned by the New York Philharmonic, and premiered on December 16, 1893, at Carnegie Hall conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on December 15, 1893, Dvořák further explained how Native American music had been an influence on this symphony:
I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral colour.[5] In the same article, Dvořák stated that he regarded the symphony's second movement as a "sketch or study for a later work, either a cantata or opera ... which will be based upon Longfellow's [The Song of] Hiawatha"[6] (Dvořák never actually wrote such a piece).[6] He also wrote that the third movement scherzo was "suggested by the scene at the feast in Hiawatha where the Indians dance".[6]
  Curiously enough, passages that modern ears perceive as the musical idiom of African-American spirituals may have been intended by Dvořák to evoke a Native American atmosphere. In 1893, a newspaper interview quoted Dvořák as saying "I found that the music of the negroes and of the Indians was practically identical", and that "the music of the two races bore a remarkable similarity to the music of Scotland".[7][8] Most historians agree that Dvořák is referring to the pentatonic scale, which is typical of each of these musical traditions.[9]
  In a 2008 article in The Chronicle of Higher Education, prominent musicologist Joseph Horowitz asserts that African-American spirituals were a major influence on the ninth symphony, quoting Dvořák from an 1893 interview in the New York Herald as saying, "In the negro melodies of America I discover all that is needed for a great and noble school of music."[10]
Despite all this, it is generally considered that, like other Dvořák pieces, the work has more in common with folk music of his native Bohemia than with that of the United States. Leonard Bernstein averred that the work was truly multinational in its foundations.

GLAZUNOV 

Αλλοι δυο συνθετες που "χτύπησε" η καταρα της 9ης ειναι ο καπως αργός -ή ίσως τεμπελης;- Glazunov, ο οποίος δεν πρόλαβε καν να την ολοκληρωσει και, συμφωνα τουλαχιστον με τους πιο ακραιους και παραλογους - αν δεχτουμε ότι υπαρχουν μη παραλογοι στην περιπτωση μας- "πιστους" της καταρας, ο Sibelius... 

Glazunov Symphony No. 9
http://www.youtube.com/watch?v=MNP-c6ZGmbs&feature=share&list=PL19E3F9507A768061
Symphony No. 9 (Glazunov)Wikipedia
Alexander Glazunov's Symphony No. 9 in D minor was begun in 1910, but was still unfinished by the time of his death in 1936. Gavril Yudin orchestrated the first movement piano sketch.
Symphony No. 9 (Glazunov) - Wikipedia, the free encyclopedia
http://en.wikipedia.org/wiki/Symphony_No._9_(Glazunov)
Glazunov Symphony No. 9 (unfinished)
http://www.facebook.com/l.php?u=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DZsboB8ca2
XM%26feature%3Dshare%26list%3DPL19E3F9507A768061&h=SAQEETKNO

Συνεχίζουμε - σχεδον τελειώνουμε- με το... φαντασμα της ενατης (πως λεμε της όπερας...) . Τελεια αποδειξη ότι για την καταρα ευθυνεται το αριστουργημα του ενος απο τους δυο κουφούς γιγαντες των τεχνων (ο άλλος είναι ο Γκογια) ειναι ο Χάυντν. Αν ο Μότσαρτ προλαβε να γραψει καμια πενηνταριά μετα την... ακατονόμαστη, αυτός το παρακανε... Εγραψε άλλες 97 (σύνολο 106!).

Η ΚΑΤΑΡΑ ΤΗΣ ΕΝΑΤΗΣ - ΠΡΟΙΣΤΟΡΙΑ - Joseph Haydn

Joseph Haydn - Symphony No. 9 in C majorhttp://youtu.be/umHURd_bic8
The Symphony No. 9 in C major, Hoboken I/9, is a symphony by Joseph Haydn. The symphony was composed in 1762.[1]
It is scored for 2 flutes, 2 oboes, bassoon, 2 horns, strings and continuo.[2] The flutes are used in place of the oboes in the slow movement and mainly double the first violins an octave higher.[3] The work is in three movements:
Allegro molto, 2/4
Andante, G major, 2/4
Minuetto e Trio, Allegretto, both 3/4
While it was not unusual to end a 3-movement symphony with a minuet, such a minuet generally was without a trio. The trio here features a solo oboe with wind-band interludes.[3]
Symphony No. 9 (Haydn) - Wikipedia, the free encyclopediahttp://en.wikipedia.org/wiki/Symphony_No._9_(Haydn)
Haydn: Symphony No.99 - Pinnock/RCO(2008Live)http://youtu.be/fB8_cZiEQgA




SCHUBERT

Αλλος ενας μεγαλος μουσικός που πεθανε μετα την συνθεση της 9ης του (και πριν να προλαβει να ολοκληρωσει την 10η ) ήταν ο Franz Schubert.
Η ενατη του Σούμπερτ, εργο σε C major, D. 944 επονομαζόμενη "The Great" ειναι ενα από τα καλυτερα εργα που γραφτηκαν ποτε. Επηρεασε τον Μπρούκνερ και τον Μπερλιοζ και θεωρηθηκε απο τον Σούμαν το καλυτερο συμφωνικο εργο που γραφτηκε μετα τον Μπετοβεν.
Furtwängler, 1942 - Schubert, Symphony No. 9 in C major, D. 944 "The Great"
 http://www.youtube.com/watch?v=v-JcY7SHs1o&feature=youtu.be
The idea of the Ninth Symphony holds a special place in classical music lore. So much so that the storage capacity of the compact disc, at 74 minutes, was developed by Sony specifically to accommodate a particularly long reading of Ludwig van Beethoven’s Symphony No. 9. The Ninth Symphony also has the ability to strike fear into the hearts of some composers going back as far as Beethoven’s day. The belief is that once you have written your ninth symphony, death would soon come calling. This phenomenon is known as the curse of the Ninth, and no one was more tragically afflicted with the fear of this curse than the Viennese composer Gustav Mahler. When Mahler finished composing his massive Symphony No. 8, he didn’t proceed to his ninth as one might expect. Instead, he wrote the beautiful collection of orchestral songs called Das Lied von Der Erde, subtitled “A Symphony for Tenor and Alto (or Baritone) Voice and Orchestra.” It appeared Mahler had eluded the curse on a technicality, but ultimately he succumbed to the curse after completing his ninth and toiling away at a tenth symphony.
Another Austrian composer, Arnold Schoenberg, exhibited his own number related fear. Schoenberg showed classic triskaidekaphobia symptoms in his avoidance of using the number 13 in his scores and was uniquely positioned to comment on the strange curse that swirled around fin de siècle Vienna with such vengeance. (συνεχιζεται)
Bruno Walter, 1946 - Schubert, Symphony No. 9 in C major, D. 944 "The Great"
 http://www.youtube.com/watch?v=grIJOHJxY38&feature=youtu.be
CBC Music
Commenting on the death of his friend and countryman, Mahler, Schoenberg explained: “It seems that the ninth is a limit. He who wants to go beyond it must pass away. It seems as if that something might be imparted to us in the tenth, which we ought not yet to know, for which we are not yet ready. Those who have written a ninth have stood too near to the hereafter. Perhaps the riddle of the world would be solved if one of those who knew them were to write the tenth, and that is probably not to take place." Many composers since Mahler and Schoenberg have successfully composed through the ninth symphony obstacle and beyond with nary a concern. But it is true that even in recent times, the curse, or at least the fear of it, continues. The 75-year-old American composer Phillip Glass recently completed a ninth and tenth in quick succession presumably to dash any chance that the curse might deploy its mojo on the streets of New York City in 2012. Malcolm Arnold and Alexander Glazunov each worked on their ninth symphonies, then set down their symphony composing pens for the remainder of their careers which ran more than 20 years each. And the Russian composer, Alfred Schnittke barely managed to eke out a ninth, and final, symphony with his left hand due to paralysis following a stroke. Perhaps there’s something to this curse. As you mull over the phenomenon of the dreaded curse of the ninth symphony, here’s some data to consider. Click the images to enlarge them.
http://music.cbc.ca/#/blogs/2012/2/The-Curse-of-the-Ninth-Symphony
TMT #13: The Curse of the Ninth Symphony
http://www.youtube.com/watch?v=xCmuD_1Ztzg&feature=youtu.be
Symphony No. 10 (Schubert) - Wikipedia, the free encyclopedia

Ο Σούμπερτ πεθανε πριν να προλαβει να ολοκληρωσει την συνθεση της 10 συμφωνιας του
  Schubert's Symphony No. 10 in D major, D.936a, is an unfinished work that survives in a partly fragmentary piano sketch. Only properly identified in the 1970s, it has been orchestrated by Brian Newbould in a conjectural completion that has subsequently been performed, published and recorded.
  The sketch appears to date from the last weeks of the composer's life, in October–November 1828, and is presumed to be the Last Symphony (Letzte Symphonie) mentioned by his friend Eduard von Bauernfeld in an appreciation of Schubert published in the Wiener Zeitschrift für Kunst, Literatur, Theater und Mode for 13 June 1829.[1]
  The symphony was evidently planned, unlike any of Schubert's other symphonies, in three movements:
No tempo marking (Allegro maestoso in Newbould's edition); D major
Andante; B minor/ major
Scherzo (Allegro moderato in Newbould's edition); D major. Despite the title 'scherzo', the remarkable third movement, which is extremely contrapuntal in texture and includes extended fugal passages, appears to be a compound movement performing the functions of both scherzo and finale. The most fully preserved movement is the Andante, an impressively solemn, slow-march invention which has been seen as anticipating Gustav Mahler.[2] There are about 30 instrumental indications in Schubert's sketch which confirm that the orchestra to be employed was similar in size to the Eighth and Ninth symphonies, with a trio of trombones which make impressive contributions in the first two movements.
  The music of the symphony appears to some extent exploratory and contains unusual elements, notably the hybrid form of the third movement and the highly contrapuntal nature of much of the material. Sketches for the third movement are intermingled with several counterpoint exercises, which suggests that it is related in some way to the one counterpoint lesson Schubert lived to take from Simon Sechter a few weeks before his death at 31 from typhus on November 19, 1828.Schubert's Symphony No. 10 in D major, D.936a, is an unfinished work that survives in a partly fragmentary piano sketch. Only properly identified in the 1970s, it has been orchestrated by Brian Newbould in a conjectural completion that has subsequently been performed, published and recorded.
  The sketch appears to date from the last weeks of the composer's life, in October–November 1828, and is presumed to be the Last Symphony (Letzte Symphonie) mentioned by his friend Eduard von Bauernfeld in an appreciation of Schubert published in the Wiener Zeitschrift für Kunst, Literatur, Theater und Mode for 13 June 1829.[1] The symphony was evidently planned, unlike any of Schubert's other symphonies, in three movements:
No tempo marking (Allegro maestoso in Newbould's edition); D major
Andante; B minor/ major
Scherzo (Allegro moderato in Newbould's edition); D major. Despite the title 'scherzo', the remarkable third movement, which is extremely contrapuntal in texture and includes extended fugal passages, appears to be a compound movement performing the functions of both scherzo and finale. The most fully preserved movement is the Andante, an impressively solemn, slow-march invention which has been seen as anticipating Gustav Mahler.[2] There are about 30 instrumental indications in Schubert's sketch which confirm that the orchestra to be employed was similar in size to the Eighth and Ninth symphonies, with a trio of trombones which make impressive contributions in the first two movements.
The music of the symphony appears to some extent exploratory and contains unusual elements, notably the hybrid form of the third movement and the highly contrapuntal nature of much of the material. Sketches for the third movement are intermingled with several counterpoint exercises, which suggests that it is related in some way to the one counterpoint lesson Schubert lived to take from Simon Sechter a few weeks before his death at 31 from typhus on November 19, 1828. http://en.wikipedia.org/wiki/Symphony_No._10_(Schubert)
Schubert/Newbould: Symphony No.10
http://www.youtube.com/watch?v=C494B1lKslI&feature=youtu.be


RALPH VAUGHAN WILLIAMS
Ralph Vaughan Williams: Symphony No.9 (1956/1957)
http://www.youtube.com/watch?v=LiJHg6ZbVG8&feature=youtu.be
Symphony No. 9 (Vaughan Williams) - Wikipedia, the free encyclopedia

Symphony No. 9 (Vaughan Williams)
From Wikipedia, the free encyclopedia
The Symphony No. 9 in E minor was the last symphony written by the British composer Ralph Vaughan Williams. He composed it from 1956 to 1957 and it was given its premiere performance in London by the Royal Philharmonic Orchestra conducted by Malcolm Sargent on 2 April 1958, in the composer's eighty-sixth year. It was subsequently performed on 5 August 1958 by the BBC Symphony Orchestra under the direction of Malcolm Sargent at a Promenade Concert. Vaughan Williams died three weeks later, on 26 August, the very day on which the symphony was due to be recorded for the first time, by the London Philharmonic Orchestra conducted by Sir Adrian Boult.
Vaughan Williams’s original idea was to create a programmatic symphony based on Thomas Hardy's book Tess of the d'Urbervilles, even though the programmatic elements eventually disappeared as work on the composition progressed. Existing sketches clearly indicate that, in the early stages of composition, certain passages related to specific people and events in the novel: in some of the manuscripts, the first movement is headed "Wessex Prelude", and the heading "Tess" appears above sketches for the second movement

  Many critics and writers now consider Vaughan Williams's last symphony to be one of his greatest works.[5][6] The New Grove Dictionary of Music and Musicians calls this symphony "the most impressive achievement" of Vaughan Williams's final decade and remarks that "both outer movements employ highly original structures – the carefully graded and layered engineering of rhythmic momentum in the first movement is especially striking – and the work offers one of Vaughan Williams's most impressive essays in finely balanced tonal and modal ambiguities."
http://en.wikipedia.org/wiki/Symphony_No._9_(Vaughan_Williams)


SIBELIUS 

Η υπόθεση του Σιμπέλιους ειναι πραγματικα κάπως ακραια , ακόμα και αν δεχτούμε τη "λογική" της πρόληψης που συμφωνα με κάποιους τουλαχιστον, τρομοκρατούσε τον Μαλερ. Είναι γνωστο ότι ο Φιλανδος συνθετης δεν ολοκληρωσε καν την 8η του συμφωνία... 
Jean Sibelius's Symphony No. 8 was the last major work the composer worked on, and never completed. Today, virtually none of the score exists. The manuscript was probably burned by Sibelius in 1945. It remains one of the great mysteries of twentieth-century classical music.
 Sibelius produced his last major work, Tapiola, in 1926, but he lived another thirty years, and it has been suggested[1] that he spent much of this time working on an eighth symphony. He promised the work as early as 1930. In letters to his wife Aino, he discusses the symphony's composition. Furthermore, there are records of him ordering large amounts of manuscript paper and of him having a large work copied out in the mid-1930s. There exists a 1937 receipt stating that a large work had been bound. He promised the premiere of this symphony to Serge Koussevitzky in 1931 and 1932, and a London performance in 1933 under Basil Cameron was even advertised to the public.[2] But, after all this, "Symphony No 8" never materialised. His wife recounts seeing him feeding manuscript papers into a fire in 1945, and some believe that among these papers was the completed Eighth Symphony. Sibelius was prone to insecurity and depression, and such destructive behaviour was not unprecedented. It was once believed that he destroyed an earlier version of his Fifth Symphony and an extended version of the Karelia Suite, but both have since been
Symphony No. 8 (Sibelius) - Wikipedia, the free encyclopedia
located.http://en.wikipedia.org/wiki/Symphony_No._8_(Sibelius)
3 Sketches From Sibelius "Lost" 8th Symphony- World Premiere
http://youtu.be/HmIGn97BXs8

Ωστόσο μια και ενα απο τα πρωτα του εργα το Kullervo μπορει να θεωρηθει συμφωνία ... η 8 γινεται αυτόματα 9... 
 ... Όπερ έδει δείξαι ... συμφωνα τουλαχιστον με τη ιδιόμορφη λογική της δεισιδαιμονιας...
Kullervo
Op. 7 Kullervo Symphony for soprano, baritone, male voice choir and orchestra. 1. Introduction, 2. Kullervo's Youth, 3. Kullervo and his Sister, 4. Kullervo goes to War, 5. Kullervo's death; words from Kalevala. Completed in 1892; first public performance 28th April 1892, Helsinki (soloists Emmy Achté and Abraham Ojanperä, Orchestra of the Helsinki Orchestra Society under Jean Sibelius). Arrangement for baritone and piano of part of the music (Kullervo's Lament) 1893, revised version 1917-18. Arrangement for baritone and orchestra of part of the music (Kullervo's Lament) 1957; first performance on 14th June 1957 in Helsinki (Kim Borg, the Finnish Radio Symphony Orchestra under Jussi Jalas).
 Jean Sibelius started to think up ideas for Kullervo in Vienna in the spring of 1891, in his student flat at the corner of Wiedner Haupstrasse 36 and Waaggasse 1.
 Kullervo, 1892
http://www.sibelius.fi/english/musiikki/ork_kullervo.htm
Jean Sibelius - Kullervo, Op. 7 (1892)
 http://youtu.be/6zpXPq-lHSM


Η ΚΑΤΑΡΑ ΤΗΣ ΕΝΑΤΗΣ - ΜΕΡΟΣ 2ο Η ΑΚΥΡΩΣΗ Α. ΟΙ... ΠΟΝΗΡΟΙ - William Schuman 

Αν και ο Μάλερ δεν γλίτωσε απο την καταρα, παρα το γεγονός ότι προσπαθησε να ξεφυγει απο το πνευμα, φροντίζοντας να μην ονομασει το τραγουδι της γης συμφωνία, ορισμενοι σταθηκαν πιο τυχεροι... Η πιο πονηροι...
Ενας απο αυτους , ο William Howard Schuman (1910 – 1992) , Αμερικανος συνθετης, ξεγελασε το πνευμα της καταρας , με αποτελεσμα να φτασει στην 10η συμφωνία. Το κόλπο του; Απεσυρε τις δυο πρώτες, οπότε η 9 εγινε 7... Κοινως το κακο πνευμα, που στην περιπτωση του Μαλερ και του Σιμπελιους αποδειχθηκε τοσο εξυπνο, την ... πατησε αγρια στην προκειμενη περιπτωση. Εκτος και αν σκεφτηκε... "Σιγα το πραμα... ενας Schuman ειναι... Αστον εκει να νομιζει...", ενω με τους μεγαλους δεν εδειξε παρόμοια ανεκτικότητα...
Εγω προσωπικα κλινω υπερ της τελευταιας αποψης... Δηλαδη , αν ημουν πνευμα δεν θα με πειραζε να μου ξεφυγει καποιος σαν τον Αμερικανο συνθετη.. Αν όμως μου ξεφευγε κανενας κολοσσός του επιπεδου του Μαλερ, θα το εφερα βαρέως... Καταθλιψη θα παθαινα... Μπορει και να αυτοκτονουσα ...
Λεω μπορει γιατι δεν ξερω αν τα κακα πνευματα αυτοκτονούν...


William Schuman: Symphony No.9 "The Ardeatine Caves" (1968)/ Ormandy
 http://youtu.be/L1tF5S21La0
William Howard Schuman (August 4, 1910 – February 15, 1992) was an American composer and music administrator.
  Music  Schuman left a substantial body of work. His "eight symphonies, numbered Three through Ten", as he himself put it (the first two werewithdrawn), continue to grow in stature. His concerto for violin (1947, rev. 1959) has been hailed as among his "most powerful works ... it could almost be considered a symphony for violin and orchestra." Other works include the New England Triptych (1956, based on melodies by William Billings), the American Festival Overture (1939), the ballets Undertow (1945) and Judith (1949) (the latter written for Martha Graham), the Mail Order Madrigals (1972) to texts from the 1897 Sears Roebuck catalog, and two operas, The Mighty Casey (1953, based on Ernest Thayer's "Casey at the Bat"), which reflected his lifelong love of baseball, and A Question of Taste (1989, after a short story by Roald Dahl). He also arranged Charles Ives' organ piece Variations on "America" for orchestra in 1963, in which version it is better known. Another popular work by William Schuman is his George Washington Bridge (1950), for concert band.

http://en.wikipedia.org/wiki/William_Schuman

William Schuman - Wikipedia, the free encyclopedia
en.wikipedia.org

Η ΚΑΤΑΡΑ ΤΗΣ ΕΝΑΤΗΣ - ΜΕΡΟΣ 2ο Η ΑΚΥΡΩΣΗ

Β . ΟΙ ... ΤΥΧΕΡΟΙ.

Αλλοι δυο συνθετες που... διελαθαν την προσοχή (με αιτιατική και όχι με γενικη το συνέτασσαν οι αρχαιοι ) της καταρας - και μαλιστα χωρις "κόλπα" - και καταφεραν να φτασουν στον αριθμό 12 ειναι ο Βραζιλιάνος Heitor Villa-Lobos και ο Γαλλος Darius Milhaud.

VILLA LOBOS


Heitor Villa-Lobos: Sinfonia n.9 (1952)
 http://www.youtube.com/watch?v=KEiJyKmFUQ8&feature=youtu.be
Darius Milhaud: Sinfonia n.9 op.380 (1959) (1/2)
http://youtu.be/i_BsUKxtbac
έγραψε και για κιθάρα αυτός και....τη γλύτωσε,χα!

 









Darius Milhaud: Sinfonia n.9 op.380 (1959) (2/2)http://youtu.be/wdW_zrrSf4A
(((Ανηκει στα ανεξηγητα Mina...
Υπαρχουν και αλλοι που δεν εκαναν τιποτα ... αλλα τη "σκαπούλαραν"...
Κάποιοι χρειαστηκε να αποκηρυξουν συμφωνιες, να πηδήσουν αριθμους ή να κανουν αλλα τρελά... Αυτοι (και άλλοι) ... τιποτα,... Μαλλον ειναι οι τυχεροι...)))


 


SHOSTAKOVICH

Η ΚΑΤΑΡΑ ΤΗΣ ΕΝΑΤΗΣ - ΜΕΡΟΣ 2ο Η ΑΚΥΡΩΣΗ

Β . ΟΙ ... ΤΥΧΕΡΟΙ.


Leonard Bernstein, 1965 - Dmitri Shostakovich, Symphony No. 9 in E flat major, Op. 70
http://www.youtube.com/watch?v=IfJ7ijBBtyM&feature=youtu.be
Symphony No. 9 (Shostakovich)
Wikipedia,
Symphony No. 9 in E flat major, Op. 70 was composed by Dmitri Shostakovich in 1945. It was premiered on 3 November 1945 in Leningrad by the Leningrad Philharmonic Orchestra under Yevgeny Mravinsky.
Composition
The ninth symphony was originally intended to be a celebration of the Russian victory over Nazi Germany in World War II (see Eastern Front). The composer declared in October 1943 that the symphony would be a large composition for orchestra, soloists and chorus which the context would be "about the greatness of the Russian people, about our Red Army liberating our native land from the enemy". On the occasion of the 27th anniversary of the Revolution held in 1944, Shostakovich affirmed, "Undoubtedly like every Soviet artist, I harbor the tremulous dream of a large-scale work in which the overpowering feelings ruling us today would find expression. I think the epigraph to all our work in the coming years will be the single word 'Victory'."
David Rabinovich recalled a conversation he had with Shostakovich on the ninth symphony in 1944 that the composer "would like to write it for a chorus and solo singers as well as an orchestra". In a meeting with his students on 16 January 1945, Shostakovich informed them that the day before he had begun work on a new symphony. A week later, he told them that he had reached the middle of the development section, and the work was going to be opened with a big tutti. Isaak Glikman heard around ten minutes of the music Shostakovich had written for the first movement in late April, which he described as "majestic in scale, in pathos, in its breathtaking motion".
But then Shostakovich dropped the composition for three months. He resumed working on the symphony on 26 July 1945 and finished composing on 30 August 1945. The symphony turned out to be a completely different work from the one he had originally planned, with neither soloists nor chorus and a much lighter mood than expected. He forewarned listeners, "In character, the Ninth Symphony differs sharply from my preceding symphonies, the Seventh and the Eighth. If the Seventh and the Eighth symphonies bore a tragic-heroic character, then in the Ninth a transparent, pellucid, and bright mood predominates."
http://en.wikipedia.org/wiki/Symphony_No._9_(Shostakovich)

Evgeni Mravinsky, 1976 (Live) Shostakovich, Symphony No. 15 in A major, Op. 141http://www.youtube.com/watch?v=E1Lo2kOTKvA&feature=youtu.be
The Symphony No. 15 in A major (Opus 141), Dmitri Shostakovich's last, was written in a little over a month during the summer of 1971 in Repino. It was first performed in Moscow on 8 January 1972 by the All-Union Radio and Television Symphony Orchestra under Maxim Shostakovich.
http://en.wikipedia.org/wiki/Symphony_No._15_(Shostakovich)


Η ΚΑΤΑΡΑ ΤΗΣ ΕΝΑΤΗΣ - ΠΡΟΙΣΤΟΡΙΑ - MOZART
 

Mozart - Symphony No. 9 in C, K. 73 [complete]  
http://www.youtube.com/watch?v=dh8LxxhGjfU&feature=youtu.be
N. Harnoncourt conducts Mozart Symphonies No 39, No 40, No 41http://www.youtube.com/watch?v=U-8UNloXMN0&feature=share&list=PLcf3ffiFjW2-2uwavsQ8Xt_6PaEqq6nWz

Symphony No. 9 (Mozart)
Wikipedia,

Symphony No. 9 in C major, K. 73/75a, by Wolfgang Amadeus Mozart, has an uncertain provenance. The most likely date of its composition appears to be late 1769 or 1770 during Mozart's first Italian journey, although some authorities have dated it "probably not before early summer 1772".[1] It may have been started in Salzburg, before the first Italian journey began, and completed during the trip. The symphony is in four movements and is Mozart's first in the key of C major. There is no information concerning which of the many Italian concerts given by the Mozarts during this visit saw this symphony's first performance. The autograph score is preserved in the Biblioteka Jagiellońska in Kraków.[2]
Movements and instrumentation
The symphony is score for 2 flutes, 2 oboes, bassoon, 2 horns, 2 trumpets, timpani, harpsichord and strings.[1]
There are four movements.
Allegro, 4/4
Andante, 2/4
Menuetto and Trio, 3/4
Molto allegro, 2/4
http://en.wikipedia.org/wiki/Symphony_No._9_(Mozart)

Η ΚΑΤΑΡΑ ΤΗΣ ΕΝΑΤΗΣ 2. ΟΙ ΕΞΑΙΡΕΣΕΙς - ΟΙ ... ΠΟΝΗΡΟΙ

Leif Segerstam / Glenn Branca

Part 1/2 Segerstam - Symphony 212, dedicated to Gustavo Dudamel
http://www.youtube.com/watch?v=gAydCG0KTdQ&feature=youtu.be
Part 2/2 Segerstam - Symphony 212, dedicated to Gustavo Dudamel
 http://www.youtube.com/watch?v=p9909P9h-2s&feature=youtu.be



Glenn Branca-Symphony No. 13: Hallucination City-St. Louis, MO
 http://www.youtube.com/watch?v=YuTGSVYS494&feature=youtu.be
Ο Glenn Branca με 14 μεχρι σημερα συμφωνιες ειναι σιγουρα λιγότερο παραγωγικός απο τον Segerstam. Πάντως και αυτός εκανε του κεφαλιού του και δεν υπέστη συνεπεια ουδεμια ... Πιθανότατα επειδη όπως θα ακουσετε εχει μια ιδιόμορφη αποψη πανω στο τι ειναι μια συμφωνια....


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