| Téma: Távol-nyugati zeneszerzők |
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 Claude Debussy: La Mer
Közzététel: 2012. júl. 1.
"La Mer" L.109, (The Sea), is an orchestral composition by Claude Debussy. It was started in 1903 in France and completed in 1905 on the English Channel coast in Eastbourne. The premiere was given by the Lamoureux Orchestra under the direction of Camille Chevillard on 15 October 1905 in Paris. "La Mer" is a composition of huge suggestion and subtlety in its rich depiction of the ocean, which combines unusual orchestration with daring impressionistic harmonies. The work has proven very influential, and its use of sensuous tonal colours and its orchestration methods have influenced many later film scores. While the structure of the work places it outside of both absolute music and programme music as those terms were understood in the early 20th century, it obviously uses descriptive devices to suggest wind, waves and the ambience of the sea. But structuring a piece around a nature subject without any literary or human element to it - neither people, nor mythology, nor ships are suggested in the piece - also was highly unusual at the time.
Debussy called his work "three symphonic sketches," avoiding the loaded term symphony; yet the work is sometimes called a symphony; it consists of two powerful outer movements framing a lighter, faster piece which acts as a type of scherzo.
"La Mer" is divided inot three movements:
1. "De l'aube à midi sur la mer" (from dawn to midday on the sea);
2. "Jeux de vagues" (Play of the Waves);
3. "Dialogue du vent et de la mer" (Dialogue of the wind and the sea).
Conductor: Vladimir Ashkenazy & Cleveland Orchestra |
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 Pierre Certon: La, la, la, je ne l'ose dire
Közzététel: 2013. febr. 16.
Pierre Certon - La, la, la, je ne l'ose dire
Quartetto Vocale "Four Voices"
Adriana Galeazzi, soprano
Manuela Cortese, alto
Marco Fabiani, tenore
Giovanni Cadoni, basso
registrazione 1995
La, la, la, je ne l'o, je ne lo',
je ne l'ose dire.
La, la, la, je le vous dirai,
et la, la, la, je le vous dirai.
Il est un homme en not' ville
qui de sa femme est jaloux.
Il n'est pas jaloux sans cause,
mais il est cocu de tout.
Et la, la, la, je ne l'o, je ne lo',
je ne l'ose dire.
La, la, la, je le vous dirai,
et la, la, la, je le vous dirai.
Il n'est pas jaloux sans cause,
mais il est cocu de tout.
Il aprete et si la mene
au marche s'en va a tout.
Et la, la, la, je ne l'o, je ne lo',
je ne l'ose dire.
La, la, la, je le vous dirai,
et la, la, la, je le vous dirai! |
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 Amy Beach: Dreaming, Op. 15, No. 3
Közzététel: 2014. jan. 13.
National Federation of Music Clubs
(NFMC) Festivals Bulletin
"Dreaming, Op. 15, No. 3" (The Festival Collection® Book 8)
by Amy Beach
Musically Advanced II
Painting: Daydreaming (1876)
Edward Harrison May (British, 1824-1887) |
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 François d'Agincourt: Cembalo Works for The Queen
Közzététel: 2014. márc. 5.
Francois D'Agincour Cembalo Works for The QUeen,Niquet |
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 Frank Zappa: watermelon in easter hay
Közzététel: 2013. nov. 16.
Zappa's beautiful guitar solo & base drums: my stereo edit, to give you a home stereo equipment experience on headphones... Same video, but sounds at its original volume (not lowered by Youtube): http://uploadsociety.com/video_v89532 Real loud! |
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 Michèl Yost: Clarinet Quartet No. 1
Közzététel: 2015. jan. 28.
Michèl Yost (1754~1786)
Clarinet Quartet No. 1
00:00 I. Allegro
07:56 II. Cantabile con variazioni
Clarinet : Jiri Kotal
Violin : Petr Zdvihal
Viola : Karel Untermüller
Cello : David Havelík |
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 Hendrik Waelput: Symphony No. 2 (1875)
Közzététel: 2013. máj. 27.
Philippe Henri Pierre Jean-Baptiste (Hendrik) Waelput (Ghent, 1845 -- 1885)
Symphony No. 2 in E flat major (1875)
Movements:
1. Allegro risoluto (0:00)
2. Andante cantabile (6:28)
3. Minuet: allegretto (11:49)
4. Finale: allegro commodo (15:46)
Played by the Antwerp Philharmonic conducted by Frits Celis
Illustration: Belfort (City Hall) at Ghent, between 1890 and 1900. |
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 Robert Valentine: Sonate à deux flûtes n°5 allegro et adagio
Közzététel: 2014. nov. 10.
Projet Cerberos pilus
Flûte à bec alto 415Hz
Robert Valentine,compositeur anglais (1671-1747) |
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 Germaine Tailleferre: Concertino pour harpe et piano (1927)
Feltöltés: 2011. aug. 22.
Germaine Tailleferre (1892-1983): Concertino pour harpe et piano (1927).
1. Allegretto
2. Lento
3. Rondo
Gabriella Bosio, arpa
Cristina Ariagno, pianoforte.
Cover image: painting by Felix Vallotton. |
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 Jean-Philippe Rameau: Complete Cembalo Works
Scott Ross
Közzététel: 2012. nov. 3. |
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 John Knowles Paine: The Tempest (1876)
Közzététel: 2013. jan. 7.
Composr: John Knowles Paine (January 9, 1839 -- April 25, 1906),
was the first American-born composer to achieve fame for large-scale orchestral music.
He studied organ, orchestration, and composition in Germany and toured in Europe for three years. After returning to the US and settling in Boston in 1861, he became a member of the faculty of Harvard, a post that he retained for many years. He was one of the dominant musical figures on the musical scene in Boston and together with a group of other composers collectively known as the Boston Six, Paine was one of those responsible for the first significant body of concert music by composers from the United States. The other five were George Chadwick, Horatio Parker, Arthur Foote, Edward MacDowell, and Amy Beach.
In 1889, he made one of the first musical recordings on wax cylinder with Theo Wangemann, who was experimenting with sound recording on the newly invented phonograph.
The Grove Music Encyclopedia says of him:
"... Paine served the Harvard community for 43 years. By his presence and by his serious concern with music in a liberal arts college he awakened a regard for music among many generations of Harvard men. His writings testify to his insistence upon the place of music within the liberal arts..." (ref: Wikipedia)
Composition: A Symphonic Poem, The Tempest (1876)
Performers: The Royal Philharmonic Orchestra conducted by Karl Krueger.
Cover Art: George Romney: William Shakespeare's "The Tempest", Act I Scene 1 George Romney (26 December 1734 -- 15 November 1802) was an English portrait painter. He was the most fashionable artist of his day, painting many leading society figures - including his artistic muse, Emma Hamilton, mistress of Lord Nelson(ref: Wikipedia) |
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 Jacob Obrecht: Beata es, Maria
Feltöltés: 2009. júl. 19.
In 1480, the Neapolitan theorist Johannes Tinctoris listed Jacob Obrecht (1450-1505) among the contemporary composers who had elevated the practice of music virtually to artistic perfection. In Obrecht's lifetime, the transmission of his music carried his fame across Europe: when the composer was only thirty, and before he had even set foot in Italy, two of his masses were in the repertoire of the Pope's Sistine Chapel choir. In 1487, the powerful Duke Ercole I of Ferrara mounted a strong campaign to recruit Obrecht into his personal service. By all contemporary accounts, Obrecht's compositional skill was known throughout Europe. After his premature death, however, and into our own time, he has remained in the shadow of his famous contemporary Josquin Desprez. Despite the lower trajectory both of Obrecht's career as a singer, and in posthumous publication, he deserves equal consideration as a founding father of the High Renaissance.
Obrecht was born in 1450, the son of a professional trumpeter for the city of Ghent. His early education at a choir school, followed by priestly ordination and the completion, by 1480, of the Master of Arts degree, placed him on an ecclesiastical career track. His first appointment (in 1480) was Choirmaster for the Guild of Our Lady at Bergen op Zoom, followed in 1484 by an election as succentor for the influential Cathedral of Cambrai. But Obrecht returned under a cloud to the Netherlands, hired by the church of St. Donatian's in Bruges while still technically working for Cambrai. His career became a rotating cycle of employments (and some firings) in Flemish churches of Bruges (1485-1491; 1498-1500), Antwerp (1492-1498; 1501-1503), and Bergen op Zoom (1497-1498). Though his music was being performed across the breadth of the Continent, it may be that Obrecht himself had a truly poor singing voice as well as a habit of neglecting his administrative and teaching duties, which together comprised the actual responsibilities of professional musicians in the church. Owing to Obrecht's compositional prowess, however, the Duke of Ferrara finally gave him more lucrative employment in Italy, in 1504; unfortunately, the composer died of the plague there less than a year later.
The centerpiece of Obrecht's compositional output is a series of 30 settings of the Mass Ordinary, written under a number of different structural plans. From the early influence of the fluid music of Busnois and Ockeghem, he strives for a strongly moderated and rationally organized musical process. The facility and clarity of his contrapuntal writing is often highlighted by parallel-tenth motion in the outer voices; the careful elegance of his musical phrases by motivic repetition, and carefully prepared cadences. In this sense, he crafts his musical architectures in a highly tonal idiom, based on the audible progress of vertical harmonies. Obrecht can be fond of "Medieval" and hyper-rationalist constructions, such as music based upon complex frameworks of multiple and simultaneously sounding cantus firmus melodies; at the same time, many of his motets demonstrate a "progressive" concern for the rhetorical emphases in text.
Zene: „Beata es, Maria”, előadó: Capella Sancti Michaelis |
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 Edward MacDowell: Woodland Sketches Op.51
Hal Freedman, pianist.
Közzététel: 2012. szept. 14.
From the Cd album "Voices of the Woods"
https://itunes.apple.com/us/album/voi...
http://cdbaby.com/cd/halfreedman3
http://www.amazon.com/Voices-of-the-W...
Woodland Sketches Op.51
by Edward MacDowell
To a Wild Rose, Will o' the Wisp, At an Old Trysting Place, In Autumn, From an Indian Lodge, To a Water Lily, From Uncle Remus, A Deserted Farm, By a Meadow Brook, Told at Sunset. Composed in 1896 by the American composer, Edward MacDowell, the "Woodland Sketches, Op.51," is a recognized classic of American music. It reflects the beauty of the New England woods, as well as its history, literature, folk music, and folklore. The style of the music is romantic, bordering on impressionistic in its evocation of moods and atmospheres. Rich in genuine sentiment and full of remembrance, this brilliant collection of poetic miniatures is a window into a bygone America; one of grace, sensitivity, and rural charm. H. F. |
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 Michel-Richard de Lalande: De Profundis
Feltöltés: 2009. jún. 10.
Michel Richard Delalande :
De Profundis
Grand Motet, S23
composé en 1688.
Interprété par :
Stephen Varcoe, baryton
Charles Daniels, ténor
Gillian Fisher, soprano
Chœur du New College d'Oxford
sous la direction de Edward Higginbottom
1988
Extraits du motet - dans le désordre - Psaume 130
ou 129
I.
De profundis clamavi ad te, Domine :
Domine, exaudi vocem meam.
VII.
Quia apud Dominum misericordia :
et copiosa apud eum redemptio.
IV.
Quia apud te propiatio est :
et propter legem tuam sustinui te, Domine.
I.
Des profondeurs je crie vers toi, Seigneur :
Seigneur, entends mon appel.
VII.
Puisqu'auprès du Seigneur est la grâce :
Auprès de lui abonde le rachat.
IV.
Mais auprès de toi est le pardon,
Afin qu'on te révère, Seigneur.
Ce motet a peut-être été chanté à l'abbaye de Saint-Denis lors des funérailles du roi Louis XIV en 1715.
* * * *
Vidéo : la chapelle du Val-de-Grâce à Paris et
l'église Saint-Louis-des-Français à Rome. |
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 Nicolaus à Kempis: Symphonia Prima
Elina Veronese
Közzététel: 2014. szept. 17.
Nicolaus a Kempis (1600-1676)
Symphonia Prima
Due Violini e Trombone
(Symphoniae unius, duorum, trium, IV et V instrumentorum adjunctae quatuor 3 instrumentorum et duarum vocum; liber primus, op.2, Brussels, 1647)
Masterrezital Elina Veronese (Posaune) - Schola Cantorum Basiliensis - Charles Toet
Unter freundlicher Mitwirkung von:
Gemma Longoni, Coline Ormond (Violine), Deniel Perer (Orgel) |
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 Jacques Ibert: Divertissement (1928)
Feltöltés: 2011. aug. 20.
Jacques Ibert (1890-1962): Divertissement (1928) -- Orchestre des Concerts Lamoureux diretta da Yutaka Sado --
I. Introduction
II. Cortège
III. Nocturne
IV. Valse
V. Parade
VI. Finale
-- cover image: painting by Seurat |
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