Julia Woolf Videos
Komponist, Pianist
- Klavier
- Oper, Lied
- Vereinigtes Königreich Großbritannien und Irland
Letzte Aktualisierung
2024-05-03
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Burton Erikson Harker John Williams Kramer Sedgwick Clay McLeod Chapman Shields Ming Woolf Garth Dacre Stoker Tales
My 6+ stacks of books i haven't read yet are out of control, so I am organizing them to feel a little better about how out of control they are. Books mentioned: SHELVE: The Anatomy Of Melancholy by Robert Burton The Echo Maker by Richard Powers The Pink Line by Mark Gevisser Happy Stories Mostly by Norman Erikson Pasaribu Love In The Big City by Sang Young Park Middlebrow Queer by Jaime Harker The Velvet Rage by Alan Downs Light Perpetual by Francis Spufford Brief Notes On The Art And Manner Of Arranging Ones Books by Georges Perec Where The Deer & The Antelope Play by Nick Offerman HOPEFULLY GET TO THIS YEAR: Midnight’s Children by Salman Rushdie Nothing But The Night by John Williams Master Of Reality by John Darnielle Liarmouth by John Waters Unreal Sex by various Limbic by Peter Scalpello Faggots by Larry Kramer Between Men by Eve Kosofsky Sedgwick My 1980s & Other Essays by Wayne Koestenbaum The Arena Of The Unwell by Liam Konemann The Lords Of Salem by Rob Zombie Diego Garcia by Natasha Soobramanien & Luke Williams Whisper Down The Lane by Clay McLeod Chapman Paradais by Fernanda Melchor The Book Of Disquiet by Fernando Pessoa All Of The Marvels by Douglas Wolk ASAP: A New Name by Jon Fosse The Morning Star by Karl Knausgaard Trust by Hernan Diaz Dear Queer Self by Jonathan Alexander The Ardent Swarm by Yamen Manai OTHER: Cain’s Jawbone by Edward Powys Mathers The Overstory by Richard Powers Hurricane Season by Fernanda Melchor My Love Is A Beast by Alexander Cheves [currently reading] The Very Last Interview by David Shields Monsieur Pain by Roberto Bolaño Bestiary by K-Ming Chang Notes From Underground by Fyodor Dostoevsky Me by Elton John Mrs. Dalloway by Virginia Woolf The Boatbuilder by Daniel Gumbiner What Belongs To You by Garth Greenwell Beast by Paul Kingsnorth Dracul by Dacre Stoker & JD Barker Power Of Darkness by Bram Stoker & Valdimar Asmundsson Irish Folk Tales Dracula The Un-Dead by Dacre Stoker & Ian Holt Something In The Blood by David J Skal 5 Novels by Bram Stoker
Edvard Grieg Mikhail Pletnev Bach Woolf 1861 1976 2000
00:00 - I. Allegro 00:59 - II. (no tempo indication) 01:59 - III. Andante non troppo 04:09 - IV. Allegro 05:25 - V. Allegro non troppo 07:51 - VI. Allegro energico 09:09 - VII. Double-Fugue: Andante non troppo / Piano: Mikhail Pletnev Year of Recording: 2000 / "The seven Fugues were student exercises from 1861, never published in his lifetime but neither were they repudiated or destroyed. They are clearly Bach derived and include an elaborate double fugue." (Peter Grahame Woolf) / COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Klaas Vries Kelemen Vermeulen Stravinsky Skryabin Debussy Messiaen Stockhausen Boulez Woolf Tanglewood 1944 1968 1971 1972 1973 1974 1977 1979 1982 1983 1987 1989 1992 1994 1995 2014
Klaas de Vries (1944) All that we love is bound for the past : for mezzo soprano, narrator, piano, violin and violoncello (2014) text by David Mitchell Gerrie de Vries, mezzo soprano Osiris Trio Klaas de Vries is a Dutch composer. He studied the piano at Rotterdam Conservatory and continued his composition studies with Ketting at the Royal Conservatory in The Hague, winning the prize for composition there in 1974. He subsequently studied with Kelemen in Stuttgart. In 1972, he began to teach music and in 1979 was appointed to teach analysis, instrumentation and composition at Rotterdam Conservatory; in 1995 he was guest composer at the Tanglewood Festival of Contemporary Music. He was awarded the Matthijs Vermeulen Prize in 1983 for his orchestral Discantus. De Vries is typical of postwar Dutch composers in his rejection of Expressionism and in his empirical approach, which has remained undogmatic and open to a variety of influences. Beginning from the immediacy of the late-Stravinsky-like Refrains for two pianos and orchestra (1968), his self-critical development has been one of action and reaction, both to his own work, in which more or less complex pieces alternate, and to impulses from outside: for example, early music in Organum (1971), minimalism in Moeilijkheden ('Difficulties') (1977), jazz in the trumpet solos of A King, Riding, or a specific composition, for instance Strauss's Metamorphosen in Interludium (1977). His earlier ideal of an extrovert, objectified sound is brilliantly accomplished in works such as Follia (1973) and Discantus (1982) with their homogeneous blocks, elementary contrasts, montage-like forms and rhythmic physicality. In the following decade De Vries added a more inward-looking lyrical component, the basis for a family of 'dream pieces': ... sub nocte per umbras ... , Eclips, and the first part of the String Quartet of 1994, in which pale echos and fleeting references evoke a half-historical, half-mythical musical past. The Sonata for piano (1987), inspired by the dramatic conflict between tradition and renewal in Mann's Doktor Faustus, represents a turning-point. In subsequent works, De Vries has increasingly questioned the avant-garde belief in progress, without resorting to postmodern nostalgia. Under the influence of Borges and Stravinsky / whom he calls 'fantastic liars' / he has probed musical history and memory: for example, Diafonía, la creación (1989) results in 're-invented folk music', while ... sub nocte per umbras ... (1989) employs a number of archetypal formulas and motifs, which, like the shadows of Vergil's Aeneid to which the title refers, repeatedly return. (Together with De profundis these two works form part of an important trilogy.) A form of shadows plays a part too in Eclips (1992), an instrumental postscript which embarks from within the final reverberation of Skryabin's piano work Vers la flamme and can only be performed with that piece. Debussy, Messiaen, Stockhausen and Boulez, present in the form of brief quotations, bear witness, in this reflective and essentially pessimistic essay-in-sound, to a view of a future which has become past. Despite De Vries's evolution in technique and style, certain elements have remained constant: his brilliant instrumentation, a flexible harmonic interplay between the chromatic and the diatonic, and a characteristic repertory of musical figures, of which the sustained note, the fanfare-like signal and the percussive rhythm are among the most notable. His most significant work, to date, is the 'scenic oratorio' A King, Riding, a summation of previous intellectual and technical concerns. Based upon Virginia Woolf's The Waves, the work explores through seven characters / or seven parts of an autobiographical 'I' / his preoccupation with the question of identity, artistic and otherwise.
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