| Téma: Távol-nyugati zeneszerzők |
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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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 Ernest Fanelli: Symphonic Tableaux - "The Romance of the Mummy" (1882-3, 1886)
Közzététel: 2012. jún. 11.
Tableaux symphoniques d'après "Le Roman de la Momie" par Théophile Gautier (Symphonic Tableaux based on "The Romance of the Mummy" by Théophile Gautier) (1882-3, 1886)
Part I - Thèbes (Thebes)
1. Devant le palais de Tahoser (Before the Palace of Tahoser) [0:00]
2. Sur le Nil (On the Nile) [5:41]
3. Rentrée triomphale du Pharaon (The Triumphal Entry of the Pharaoh) [13:15]
Part II - Fête dans le palais du Pharaon (Festivity in the Pharaoh's Palace)
1. Dans une salle du palais - Jongleuses nues (In a Palace Chamber - The Naked Juggling Girls) [26:41]
2. Danse grotesque de bouffons égyptiens (Grotesque Dance of Egyptian Jesters) [31:22]
3. Chants triomphaux - Orgie (Triumphal Songs - Orgy) [38:37]
A large-scale orchestral work in two parts by French composer, percussionist and pianist Ernest Fanelli (1860-1917). The son of a Parisian bank clerk of Italian descent, Fanelli entered the Conservatoire de Paris to study music, but he was expelled soon after for refusing to attend class. For some time, he made his living as a timpanist and part-time pianist. Although the conservatory eventually readmitted him into the composition class of Léo Delibes, Fanelli did not have enough money to complete his studies and he went on to learn composition on his own. It wasn't until 1912 that the musical world became aware of this enigmatic and incredibly original composer, when Gabriel Pierné noticed a fascinating manuscript that the timpanist in his Orchestre Colonne had written. Fanelli had been begging Pierné for extra work as a copyist, and when he showed the conductor a sample of his neat musical handwriting, Pierné was surprised to see unorthodox impressionistic music, full of modal harmonies, polytonality, uneven metres and unusual ornamentation. When Pierné discovered that his timpanist had been composing such modern music nearly three decades earlier, he resolved to introduce Fanelli to the Parisian avant-garde and champion his music.
The 1912 premiere of the first part of the Tableaux symphoniques caused a minor scandal, since critics noted many similarities between Fanelli's musical idiom and the Debussian impressionism that it presaged. As Ravel said, pointing his finger at Debussy, "Now we know where his impressionism comes from." Naturally, Debussy did not take such accusations kindly. Ezra Pound recounted an anecdote about a dinner party where Debussy arrived just as Fanelli was playing one of his own compositions on the piano; as soon as he saw his rival, Debussy turned around and left. In reality, it is unlikely that Debussy ever encountered Fanelli's music prior to the sensational events of 1912, since Fanelli had been a very obscure figure in the Parisian artistic scene previously. And within a few years, after the First World War, the sensation wore off and he slipped back into musical obscurity, where he unfortunately remains to this day.
He began composing the first set of his Tableaux symphoniques in 1882, at the age of 22, completing the second set four years later. The work is based on the 1857 novel "Le Roman de la Momie" by Théophile Gautier, an Orientalist romance typical of its time. It tells of an English archaeologist who falls in love with a mummy when he discovers that it is a woman, instead of the Pharaoh he was expecting to find. Deciphering papyrus rolls from the same mausoleum, he learns of the history of the beautiful Tahoser, an Egyptian girl who fell in love with a Hebrew slave named Poëri. Upon learning that that Poëri loved another Hebrew woman named Rachel, Tahoser fell ill but was healed soon after by the mysterious prophet Mosché (Moses). When the Pharaoh (Ramses II) saw Tahoser, he decided that he must possess her. He managed to abduct the object of his desire and she became his favourite concubine. After the death of Ramses in the Red Sea - as described in the Book of Exodus - Tahoser was crowned Regent of Egypt, and that was why she was buried in the royal tomb.
Mezzo-soprano: Lydia Drahosova
Conductor: Adriano
Slovak Radio Symphony Orchestra |
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 Henry Eccles: Sonata in G Minor for Violoncello and Continuo
Feltöltés: 2011. dec. 25.
Simca Heled, violoncello.
Edward Brewer, harpsichord.
Henry Eccles (c.1670-1742) was a violinist from Great Britain of possible relation to composer John Eccles.
He was employed by the Duke d'Aumont, an ambassador, in 1713 and returned with him to France. There he published his first book of sonatas in 1720. These were dedicated to "Monsieur le Chevalier Gage, Gentilhomme Anglois" -presumably Sir William Gage, baronet of Firle, Sussex. What other patrons Eccles had are unknown. Henry published a second set in 1723. Not much else is known about him except that he had a brother Thomas (c.1672-1745) who also played the violin and was notable for his problems with alcoholism.
The first book of sonatas, on the other hand, are quite interesting. During the early Eighteenth Century, there were no copyright protections. Eccles seems to have had no moral qualms about publishing other composers' work as his own. Out of 40 movements in this book of sonatas, 19 are known to be by other authors. Eighteen were written by the Italian composer Giuseppe Valentini (1681-1753). Valentini was a student of G.B. Bononcini and was well known in Rome during the first half of the Eighteenth Century. The borrowings are all from his Allettamenti da camera, Op. 8 (1714). Eccles must have had a fondness for these works, as he lifted them note for note in most cases. In what was to become his Sonata prima, Eccles lowered each movement by a half step (semitone); perhaps in order to put them in an easier key to play. Usually, he just reproduced the movements verbatim, but he did cut the final 16 measures from the Presto in Sonata quarta.
The other theft is from Francesco Bonporti's (1672 -1749) Invenzione a violino solo, e basso continuo, Op. 10. From this enigmatic set, Eccles only borrowed one movement and changed it from Presto to Allegro. He also added a few double stops, but not nearly as many as were added by Twentieth Century editor Joseph Salmon. This movement is the second in Eccles's Sonata #11, by far his most famous work. |
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 Jean Daetwyler: Konzert für Alphorn und Orchester
Közzététel: 2014. máj. 13.
Konzert der Stuttgarter Philharmoniker
Liederhalle Stuttgart 2013
Solistin: Eliana Burki
Dirigent: Muhai Tang:
www.eliana-burki.com |
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 John Cage: Thirteen Harmonies (1985)
Feltöltés: 2011. márc. 20.
John Cage (1912-1992): Thirteen Harmonies, for violin and keyboard (1985).
A selction of 13 out of a total of 44 Harmonies from Apartment House 1776. Roger Zahab made the selection and created a version for violin and keyboard. The selected Harmonies are:
1. Nr.18 - Old North (William Billings)
2. Nr.42 - Rapture (Collection Belcher)
3. Nr.26 - Judea (William Billings)
4. Nr.21 - Heath (William Billings)
5. Nr.19 - New York (Andrew Law)
6. Nr.5 - The Lord Descended (William Billings)
7. Nr.11 - Wheeler's Point (William Billings)
8. Nr.14 - Brunswick (James Lyon)
9. Nr.15 - Bellingham (William Billings)
10. Nr.28 - Greenwich (Andrew Law)
11. Nr.35 - Framingham (William Billings)
12. Nr.38 - The Lord is Ris'n (William Billings)
13. Nr.44 - Bloomfield (Andrew Law)
Annelie Gahl, violino
Klaus Lang, pianoforte elettrico (Fender Rhodes).
From cd Col Legno: http://www.col-legno.com/en/catalog/c...
Cover image: painting by Blinky Palermo. |
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 William Baines: Symphony in C-minor, Op.10 (1917)
Közzététel: 2013. okt. 9.
William Baines (26 March 1899 - 6 November 1922) was an English pianist and composer.
Work: Symphony in C-minor, Op.10 (1917)
Mov.I 00:00
Mov.II 09:44
Mov.III 20:17
Mov.IV 28:29
Orchestra: Airdale Symphony Orchestra
Conductor: George Kennaway
Radio recording |
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 Adolphe Adam: Giralda - Ouverture
Közzététel: 2013. júl. 31.
Adolphe Adam
Work: Giralda ou La Nouvelle Psyché, opéra comique in three acts, first performance 20 July 1850, Opéra-Comique, Paris.
Libretto: Eugène Scribe
Ouverture
Orchestra: New Philharmonia Orchestra
Conductor: Richard Bonynge |
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Még a Rajnán is túl: franciák, angolok és az a környék. |
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