Camille Pleyel Podcasts
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2024-05-14
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Cleopatra: Sandrine Piau Cornelia: Kristina Hämmarström Sesto: Malena Ernman Cesare: Lawrence Zazzo Tolomeo: Christophe Dumaux Achilla: Nicolas Rivenq Nireno: Andrew Radley Curio: Andrew Davis Freiburger Barockorchester Conductor: René Jacobs Salle Pleyel 14 June 2008 Broadcast
2022-11-04 06:00:00
Duration (h:m:s): 1:42:10
Considered two of the greatest violinists working in Brazil, Cruz and Baldini are longtime friends; Spallas of the São Paulo State Symphony Orchestra – OSESP, in 2008 created the acclaimed Quarteto OSESP that featured Cruz on viola and Baldini - who remains to this day - on violin.Purchase the music (without talk) at:Mozart and Pleyel Violin and Viola Duets (classicalmusicdiscoveries.store)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) [email protected] This album is broadcast with the permission of Bárbara Leu from Azul Music.
16th-20th Centuries This week we hear works by Costanzo Porta, Marcin Mielczewski, Philipp Erlebach, Georg Matthias Monn, Ignace Joseph Pleyel, Julius Schulhoff, Aaron Copland, and Philip Glass. 131 Minutes – Week of February 15, 2021
Episode 12, 2020: de Falla’s Concerto for Harpsichord Wednesday 23 September 2020 When pianist Wanda Landowska asked composer Manuel de Falla to write a composition inspired by Baroque music, she envisioned the piece to be played on a harpsichord. To this end, Landowska also commissioned the French firm Pleyel to build the instrument for her which they indulged with four 7-and-a-half feet long harpsichords made up of metal frames more powerful than any harpsichord known to JS Bach. Although it took him three years to complete, de Falla, a devout Catholic, was able to translate his love for rituals and sacraments into his music. In the second movement of the composition, one can hear solemn plainchants and the clanging of cathedral bells in the bass notes of the cathedral which were inspired by the yearly Corpus Christi procession the composer witnessed in Seville, Spain in 1922. Even without the magnificent harpsichords that the composition was first performed on, ANAM Associate Artist Peter de Jager was still able to give justice to the composition when he performed it with fellow ANAM musicians in 2014. Both Peter and Phil Lambert (ANAM Music Librarian) agree that de Falla envisioned this piece with big sonorous sounds, so suitable amplification of the harpsichord is needed for its sound to match the rest of the ensemble. In this ANAM Radio episode, Peter further talks about how de Falla was able to come up with a composition of great strength that seems to look beyond the instrument. The performance featured here is from ANAM alumna Jessica Foot’s fellowship concert in 2014. Watch the video recording at https://www.youtube.com/watch?v=a-cb5tIip04&feature=youtu.be
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- timeline: Composers (Europe). Performers (Europe).
- Indexes (by alphabetical order): P...