Joseph Chabanceau de La Barre Podcasts
French organist and composer
- pipe organ
- France
- organist, composer
Last update
2024-05-14
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There is a long tradition of using pianos to accompany dance – whether it is during lessons at the barre or for rehearsals when hiring a full orchestra is prohibitively expensive – and Stevens was happy to further explore the instrument's capabilities. “Although I've never taken a lesson,” he says, “the piano was my first true love.” Self-taught as both a pianist and a composer, Stevens’ first instrument was the oboe, which he started playing in 5th grade. He played in orchestras from high school through college and listened voraciously to recordings of classical music alongside pop radio. He would often take breaks from the oboe by improvising on the piano, working out music he had heard in passing – pieces by Chopin, Rachmaninov and Bach. “I learned by ear, in a very rudimentary way, inspired by a wide range of music,” he says. “A lot of the work that I compose is anachronistic as it doesn't follow a genealogy of aesthetic. It can be a cornucopia of styles.”Track Listing:1 Ekstasis2 Revanche3 Euphoros4 Mnemosyne5 Rodinia6 Reflexion7 And I Shall Come To You Like A Stormtrooper In Drag Serving Imperial RealnessHelp support our show by purchasing this album at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) [email protected] This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).
Barre Phillips’ End to End album, released in 2018, brought the documentation of his music for solo bass to a profound conclusion. Now Face à Face returns the emphasis to collaborative work, dialogue, and shared creation, in improvisations with György Kürtág Jr.Purchase the music (without talk) at:Face a Face (classicalsavings.com)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!http://www.classicalsavings.com/donate.html [email protected] album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).
New Classical Tracks with Julie Amacher
2021-06-23 07:02:00
Duration (h:m:s): 30:29
Barthold Kuijken & Immanuel Davis — La Magnifique: Flute Music for the Court of Louis XIV (Naxos) Jump to CD giveaway form When asked what flutist Immanuel Davis discovered about himself during the pandemic he said, “That my love of the flute and my love of music has to be from within and I also learned how much my students propel me. I really came face to face with how much they are giving back to me.” Davis is a flute professor at the University of Minnesota. He got the job 20 years ago as a recent graduate of Juilliard while still freelancing in New York City. Around the same time, he was offered a Fulbright scholarship to study Baroque flute in Holland, but Davis figured out a way to do both. Now, those experiences have come full circle to inform his fourth recording, La Magnifique. On this new release, which features music from the Court of Louis XIV, he’s joined by his good friend and mentor Belgian flutist Barthold Kuijken. Did you discover anything surprising as you were putting together this recording? “I discovered the great variety that was in this repertoire. In the early part of the 18th-century, the flute might play the melody of a song and then the singer would sing it. The flutist role would be to inflect the songs so you could hear the words. “Also, I discovered the wonderful variety of moods, characters and feelings of this repertoire. We sort of think of this music as a little bit stilted and old fashioned, but the reality is that these people were just as passionate and feeling as we are today.” Can you talk about the passion and emotion in the music? “It's deep. It's below the surface, but it's there. It never lasts for exceptionally long. There's a great quote that describes the flutes, especially early flutes in French opera, ‘The flutes moaned and groaned with the sounds of unrequited love.’ I think that's all over the place in this music.” How do some of those songs contribute to the development of the flute? “The first song, ‘The Triumph of Love,’ which is from a Jean-Baptiste Lully opera, is the first piece of music that said this should be played on the flute. So, we had to play it on the album. Another piece that I play is the sonata by Michael de La Barre. It’s one of the earliest sonatas for flute, which also includes the viola da gamba and harpsichord. I love this piece and in the second movement it portraits a friendly and happy — just walking through the meadow on a really gorgeous low humidity day.” Why did you close the recording with Suite No. 2 in G minor, by Marin Marais? “This piece is so French and expressive. The work builds in such a wonderful way, and it has a passacaglia in the end. It's like a chaconne with this repeating bassline that just continues to develop as it takes you on a long journey. It wraps up everything that we have started on this recording from the smaller songs to the sonatas and duets. It just finishes out everything really beautifully.” Watch Now To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Giveaway Form Resources Barthold Kuijken & Immanuel Davis — La Magnifique: Flute Music for the Court of Louis XIV (Amazon) Barthold Kuijken & Immanuel Davis — La Magnifique: Flute Music for the Court of Louis XIV (Presto) Immanuel Davis (University of Minnesota)
New Classical Tracks with Julie Amacher
2021-06-23 07:02:00
Duration (h:m:s): 30:29
Barthold Kuijken & Immanuel Davis — La Magnifique: Flute Music for the Court of Louis XIV (Naxos) When asked what flutist Immanuel Davis discovered about himself during the pandemic he said, “That my love of the flute and my love of music has to be from within and I also learned how much my students propel me. I really came face to face with how much they are giving back to me.” Davis is a flute professor at the University of Minnesota. He got the job 20 years ago as a recent graduate of Juilliard while still freelancing in New York City. Around the same time, he was offered a Fulbright scholarship to study Baroque flute in Holland, but Davis figured out a way to do both. Now, those experiences have come full circle to inform his fourth recording, La Magnifique. On this new release, which features music from the Court of Louis XIV, he’s joined by his good friend and mentor Belgian flutist Barthold Kuijken. Did you discover anything surprising as you were putting together this recording? “I discovered the great variety that was in this repertoire. In the early part of the 18th-century, the flute might play the melody of a song and then the singer would sing it. The flutist role would be to inflect the songs so you could hear the words. “Also, I discovered the wonderful variety of moods, characters and feelings of this repertoire. We sort of think of this music as a little bit stilted and old fashioned, but the reality is that these people were just as passionate and feeling as we are today.” Can you talk about the passion and emotion in the music? “It's deep. It's below the surface, but it's there. It never lasts for exceptionally long. There's a great quote that describes the flutes, especially early flutes in French opera, ‘The flutes moaned and groaned with the sounds of unrequited love.’ I think that's all over the place in this music.” How do some of those songs contribute to the development of the flute? “The first song, ‘The Triumph of Love,’ which is from a Jean-Baptiste Lully opera, is the first piece of music that said this should be played on the flute. So, we had to play it on the album. Another piece that I play is the sonata by Michael de La Barre. It’s one of the earliest sonatas for flute, which also includes the viola da gamba and harpsichord. I love this piece and in the second movement it portraits a friendly and happy — just walking through the meadow on a really gorgeous low humidity day.” Why did you close the recording with Suite No. 2 in G minor, by Marin Marais? “This piece is so French and expressive. The work builds in such a wonderful way, and it has a passacaglia in the end. It's like a chaconne with this repeating bassline that just continues to develop as it takes you on a long journey. It wraps up everything that we have started on this recording from the smaller songs to the sonatas and duets. It just finishes out everything really beautifully.” Watch Now To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Resources Barthold Kuijken & Immanuel Davis — La Magnifique: Flute Music for the Court of Louis XIV (Amazon) Barthold Kuijken & Immanuel Davis — La Magnifique: Flute Music for the Court of Louis XIV (Presto) Immanuel Davis (University of Minnesota)
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