1. We recently sadly had to report from Project Camelot a rather strange story on a socalled “Anglo-Saxonian-mission”, which has nothing to do with Anglosaxonians, except that there might be a very RESTRICTED group planning for DECIMATION OF HUMAN POPULATION by 50 % – with special attention to China, which someone out there with NON-HUMAN BACKUP might be tempted to – as they really say – expose to a GENETICAL SELECTIVE NEW BIOLOGICAL WEAPON derived from influenca (swine-flu, bird-flu, World War I socalled Chinese flu).
2. Odd enough this mad-man-idea is affecting me personally here in Europe, because my mother lived her last decennias with a consort from CHINA – a certain Master Tsu or so. IT THUS MIGHT BE SELFEVIDENT, THAT I AM VERY STRONGLY OPPOSED AGAINST ANY IDEA OF – possible – GENOCID ON CHINESE PEOPLE!
3. Everybody can only react within the span of his restricted possibilities. And pondering such gigantomaniac ideas it came across my desk the following recording :
BERIOT, CHARLES de, Duos Concertants, deux violon, op 57, no.1, g-minor – with Leung Kin Fung from HONGKONG Philharmonic performing in a rather CONVINCING attitude
4. Mr. Leung Kin Fung is in youtube with an own channel here http://www.youtube.com/user/LeungKinFung and he is referenced as first associate concert master of HONKONG PHILHAMONIC ORCHESTRA here http://www.hkpo.com/eng/aboutus/our_players/our_players_details.jsp?id=634 — and he has his own homepage here http://www.leungkinfung.com/
If I may add: If you happen to be a German teacher in higher education, you will be VERY SURPRISED by the HIGH SPIRITS, which seems in China quite ordenary and normal – such producing SHARP CONTRAST to situation of teaching in any field of traditional heritage here in Germany at present! You may even check yourself this statement in visiting just for instance JAPANESE SCHOOL in Duesseldorf/Germany … Well, I did such visit during my teacher`s training – and was stunned by SHOCKING DIFFERENCES TO TODAY situation in schools here in Germany, which is near to DESASTER …
5. Pondering China and all these rather uneducated frictions from political disputes I wondered, what to do about this gigantomaniac idea of genocid by flu on Chinese people – and well, it came across to me, that it would perhaps be a good idea, to present a big thanks for the happiness, my own mother found with a consort from China, in producing from Beriot Duos something, I really shyed away from so far, which is STUDY IN HANDLING STRING ORCHESTRA – because if you think of Beethoven, of Berlioz, of Tshaikowski , or even Ermanno Wolff-Ferrari – not to speak of the great ITALIAN STRING tradition or the very special ways of MOZART in handling strings – you suddenly may feel very humble.
So here we go with the sound-check – of which related sheetmusic after finishing will be sent to China directly – and to GNESSIN Music School in Moscow. which recently made contact …
sound-check Beriot op 57,1 – g-minor – set to STRINGS ONLY – under new title Moderato for String – Orchestra – Concert Etude FREE AUDIO — 8:43 — FINISHED AND DONE
free sheetmusic pdf selfprint (with correct key for viola!!) — 031BeriotBuike_concertpack_corrected
Often I am asked, WHY – in good heavens name – I am producing HOMEWORK for TRAINING purposes? Well, the really great composers simply did the same – and who am I, that I dare to refuse the example of the MASTERS?
And very certainly: All my critics OF COURSE would be able to do BETTER, wouldn`t they?
Or to put it slightly other: It feels somewhat strange to me myself, that in Germany I should be one of the last surviving classical composers – doing a halfway remarkable job – in the old sense of the word …
But STRANGEST of it all perhaps is, that I, aged 59, really are LEARNING NEW THINGS nearly every week!
They say: This music has no market? Well, I was not born, to find a market!
———–preface of print edition — for the professinal ——–
BBWV 031 moderato for strings from Beriot
Charles Auguste de Beriot – 1802-1870 – arr. Bruno Antonio Buike, 2012
moderato for string-orchestra – concert etude –
from Beriot op.57,1, violin duos — BBWV 31.1 – ca. 8:43
1.1 internet sheet music library IMSLP / Petrucci
1.2 Beriot, Charles [Auguste] de, 1802-1870: Trois Duos Concertants pour deux Violon, op.57, Milan / Milano: John Ricordi / Giovanni Ricordi a cote du theatre de la Scala, Schott etc. s.a. [ohne Jahr, 1847] – seperate leaflets for violin I and violin II – op. 57, 1 – g-minor – moderato, adagio , rondo, allegro
1.3 not to be mixed up with: Charles Wilfrid de Beriot, 1833-1914, son of Charles Auguste and pianist and composer himself.
1.4 special: like his famous pupil on the violin, Henri Vieuxtemps, 1820-1881, Charles Auguste was Freemason and appointed member to Loge Les Amis Philantropes a Brussels in 1833.
2. on setting
2.1 project files
BBWV 31.1 general score
BBWV 31.2 violin I
BBWV 31.3 violin II
BBWV 31.4 viola
BBWV 31.5 cello
BBWV 31.6 contrabass / Cb.
2.2 formal structure
Part 1: g-minor – Part 2: G-Major [ nothing to be concerned about under theoretical aspects, although perhaps by some felt alienating little bit ]
In both parts each has 2 sub-sections: FIRST some sort of INTRODUCTION or GRAVE and SECOND a MELODY with only few variations.
IF placed in row, we may conclude to the following: a – b – a – B – A”
So from listening there will arise an impression of some sort of THREEFOLD structure, which would be considered nice in any theory of aesthetics.
2.3 special hints
2.3.1 To give FREEDOM for each orchestra to adopt to their own gusto, NO dynamics related to loudness are indicated, which is NO “f” or “mp” or the like.
2.3.2 EVERY LIGATURE under same aspect of freedom may be reconsidered, if discussing the BOWING …
2.3.3 If this arrangement tried with amateur-orchestra, please add for performance on stage some professionals …
2.4 on violin specifics
We start with the observation, that from Andres-Romberg-violin-duos I nearly immedeately imagined ORGAN arrangements – but from this Beriot – violin – duos similar swift STRING-ORCHESTRA arrangement. This it not only a FEELING, but based on perception of some specifics in handling of melody, of accompagniato and especially of harmonization.
We secondly may say, that this Beriot-violin-duo at start of 19th century shows specifics, that only later became more wellknown to the public:
– namely an overall ITALIENITA
– namely a handling of MELODY, which may be compared to VERDI´s handling of melody for use in OPERA and ON STAGE, which is BOTH however only a developement WITHIN and OF THE SAME ITALIAN violin-tradition …
– namely a highly ARTISTIC SKILL in DRAMATIZATION both of melody and of slow parts of introduction.
We may add: It was sometimes a REAL CHALLENGE, to understand the HARMONICS, that somehow SILENTLY are lurking in the background of the orginal setting for 2 voices, which says quite a lot on the HARMONICAL SOPHISTICATION of the Beriot-original.
All this easily given in, we however may say, that something REALLY STRANGE happened, in that THIS ARRANGEMENT SUDDENLY BECAME A PIECE IN ITS OWN RIGHT and own colour and own beauty.
Well, all other possible observations and critics are left to my critics, which especially in Germany are HIGHLY SKILLED in any METATHEORETICAL LEVEL of analysis.
Problem however is: IN GERMANY THERE IS NOT SUFFICIENT PRACTICAL INTEREST, nobody hungry to have some NEW MUSIC to PLAY … which obviously in quite a lot of other countries is QUITE other – and I think here not only of Easteuropean countries and of ASIAN countries, but especially on countries in NORTHERN SOUTHAMERICA – not to speak of the really great countries there -, the VIOLIN EDUCATION EFFORTS of which to the broader European audience nearly are UNKNOWN.
Conclusion: IT WAS PURE LUCK, that I in youtube met a recording with LEUNG KIN FUNG from Hongkong Philharmonic, that had a selfevident effect on me. And I may say, that you only very, very seldom find pieces, that are SO MUCH SUITABLE for treatment by string orchestra, because its WITHIN already.
3.1 In youtube I once listened to a performance of the orginal Beriot DUO, the leading violin, the “violino principale”, played by first associate concert master of the Hongkong Philharmonic Orchestra, LEUNG KIN FUNG. It is only justice, to make a dedication to them first, especially because my own mother in her last decennias lived with a consort from China, a certain Master Tsu.
3.2 I add to this a dedication to THE Gnessin Music School in MOSCOW, which made contact recently.
3.3 I may extend the dedication to especially 2 fields of application, firstly to any higher level training in violin orchestra – as for instance in organisations under Hongkong Philharmonic Orchestra (or youth-orchestras in Equador or Venezuela) and secondly to the training class for CONDUCTORS as for instance in Gnessinka in Moscow.
Neuss, September 2012
Buike Science And Music
Buike Science And Music
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