Harry Plunket Greene Videos
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2024-05-16
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Marjorie Taylor Greene joins Sean Hannity on @FoxNews to talk about her call for a "national divorce." MTG also explains why states like California should not be able to vote for five years. Watch the Majority Report live Monday–Friday at 12 p.m. EST on YouTube OR listen via daily podcast at (http•••) (http•••) (http•••) #SamSeder #EmmaVigeland #MajorityReport #politics #news #progressive #leftist #democrats #liberal SUPPORT the show by becoming a member: (http•••) Download TMR's FREE app: (http•••) TMR MERCH: (http•••) CHECK OUT MORE from the MR crew: Matt Binder DOOMED (http•••) Brandon Sutton DISCOURSE (http•••) Emma Vigeland ESVN (http•••) Matt Lech LEFT RECKONING (http•••) OTHER LINKS: Twitch: (http•••) Facebook: (http•••) Twitter: (http•••) Instagram: (http•••) Check out more from the MR crew: Matt Binder DOOMED (http•••) Brandon Sutton THE DISCOURSE (http•••) Emma Vigeland ESVN (http•••) Matt Lech LEFT RECKONING (http•••)
Live Master Class 11.22.17 - Two of the Melodic Minor Modes Played a bunch of tunes, made a bunch of mistakes but had a great time hanging with everyone! Visit (http•••) for more information about some of the best jazz guitar lessons on the internet! Barry Greene has been a leading instructor of jazz guitar for more than 20 years. Currently a professor of jazz studies at the University of North Florida, Barry has an extensive background in performance and instruction. He has played all over the United States and Europe and has garnered praise from some of the most influential guitar players in the world. Take the opportunity to study with one of the finest educators of jazz guitar.
Cameron Carpenter Carpenter Greene Johann Sebastian Bach McKnight Charles Ives Percy Grainger George Gershwin 2012
Cameron Carpenter performs J. S. Bach's "The Great Fugue in G Minor" live on Q2 Music in The Greene Space. 4/20/2012 / The virtuosic composer-organist Cameron Carpenter joins host Terrance McKnight for a kaleidoscopic tour through the beautiful and diverse repertoire for organ, from legendary works by Johann Sebastian Bach to adaptations of Charles Ives and Percy Grainger to Carpenter's original compositions and arrangements of songs by George Gershwin and Leonard Cohen. In his exclusive New York recital this season, Carpenter provides a high-octane embarrassment of riches, all performed on a new cutting-edge digital organ by a commanding musician dubbed a "force of nature" by Alex Ross of The New Yorker and an "ambitious radical who plays with unrelenting scope, vigor and imagination" by The Advocate. To watch video form the full show visit: (http•••) www.TheGreeneSpace.org www.WQXR.org
Elwes Roger Quilter Cary Jacques Bouhy Henry Russell Agnes Nicholls Engelbert Humperdinck Handel Westmorland Charles Villiers Stanford Villiers Hubert Parry Kruse Edward Elgar Beethoven Harry Plunket Greene Greene Johannes Brahms Freed Ralph Vaughan Williams Thomas Dunhill Frank Bridge 1866 1885 1901 1903 1904 1912 1916 1921
The fine English tenor Gervase Elwes sings 'Cuckoo Song,' recorded c. June 1916. From Wikipedia:Gervase Henry Cary-Elwes, DL (15 November 1866 – 12 January 1921), better known as Gervase Elwes, was an English tenor of great distinction, who exercised a powerful influence over the development of English music from the early 1900s up until his death in 1921 due to a railroad accident in Boston at the height of his career. Elwes was born in Billing Hall, Northampton... Of the Northamptonshire and Lincolnshire landed gentry, he was educated at The Oratory School (a Roman Catholic school) and Woburn School, Weybridge, where he arrived in 1885, and finally at Christ Church, Oxford, where he was active as a cricketer and violinist. At the age of 22 he married Lady Winifride Mary Elizabeth Feilding... After Oxford he trained as a lawyer and diplomat, spending some years in Brussels, where he began his first formal singing lessons at the age of 28. However, he had to overcome a social convention which resisted a member of the upper classes becoming a professional singer, and it was not until the early 1900s, in his late thirties, that he gave his first professional performances in London. His principal teachers were Jacques Bouhy in Paris (1901–03), and in London Henry Russell and Victor Biegel, who remained his friend and teacher throughout his life. Bouhy asked him to decide between a baritone career in opera or a tenor career in oratorio and concert, and he chose the latter. His first professional appearance in London was opposite Agnes Nicholls, in Wallfahrt nach Kevlaar by Engelbert Humperdinck at the St James's Hall, with the Handel Society under J. S. Liddle in late April 1903, and immediately afterwards he appeared at the Westmorland Festival. In June 1903 he was auditioned at the Royal College of Music in London by Charles Villiers Stanford, who left the room and brought Hubert Parry in to hear him as well. The violinist Professor Kruse, who was then attempting to revive the Saturday 'Pops' at the St James's Hall jumped out of his chair and promptly engaged him, and it was Kruse who arranged for his first appearance in Edward Elgar's The Dream of Gerontius early in 1904 as an addition to his Beethoven Festival. Harry Plunket Greene, who had encouraged Elwes through this audition, also remained his lifelong friend. Elwes had a voice entirely in the English colouring, but with an unusual quality of sincerity and passion, and of considerable power. His diction and intonation were very secure, his delivery somewhat 'gentlemanly' but his phrasing long in conception and serving intense melodic inflections. His singing possessed a spiritual fervour... Victor Biegel, a 'little round, bald Viennese,' was for some time accompanist to the celebrated German lieder singer Raimund von zur-Mühlen and had a special understanding of the songs of Johannes Brahms, which he imparted to Elwes. There was a great rapport, and his teaching, especially during his six-month residence at Billing Hall (an Elwes estate) in 1903, completely freed and relaxed Elwes' voice, opening the way for the sustained power and brilliance of his upper register, and the vocal stamina which enabled him to maintain great oratorio roles (for which he was much in demand) with absolute conviction through a singing career of nearly two decades... But it was as singer of English art-song, and the friend of many leading English composers, that Elwes left his most permanent legacy. He was the dedicatee and first performer of (and the first person to record) Ralph Vaughan Williams song cycle On Wenlock Edge and many of the finest songs of Roger Quilter (including the cycle To Julia), both of whom wrote with his voice in mind. In 1912 he gave the first performance of Thomas Dunhill's song-cycle The Wind Among the Reeds for the Philharmonic Society. He had the wholehearted admiration of every generation from Charles Villiers Stanford to Frank Bridge, and their successors still acknowledge the authority of his influence. He was also a wonderful inspiration to leading British singers of his time, as their many private and published memorials testify... On 12 January 1921, Elwes was killed in a horrific accident at Back Bay railway station in Boston, Massachusetts, in the midst of a high-profile recital tour of the United States at the height of his powers. Elwes and his wife had alighted on the platform when the singer attempted to return to the conductor an overcoat that had fallen off the train. He leaned over too far and was hit by the train, falling between the moving carriages and the platform. He died of his injuries a few hours later. He was 54 years old. A week after the event, Edward Elgar wrote to Percy Hull, 'my personal loss is greater than I can bear to think upon, but this is nothing – or I must call it so – compared to the general artistic loss – a gap impossible to fill – in the musical world.'
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