Orquesta De Louisville Vídeos
grupo musical estadounidense
- Estados Unidos
Última actualización
2024-05-15
Actualizar
Easley Blackwood Kling Olivier Messiaen Paul Hindemith Nadia Boulanger Verdi Ravel Charles Ives Pierre Boulez Louisville Orchestra Indianapolis Symphony Orchestra Chicago Pro Musica Chicago Symphony Orchestra 1933 1954 1956 1957 1958 1980 1986 1997
Easley Blackwood, (born April 21, 1933), is a professor of music, a concert pianist, a composer of music, some using unusual tunings, and the author of books on music theory, including his research into the properties of microtonal tunings and traditional harmony. Blackwood was born in Indianapolis, Indiana. He studied piano there and was doing solo appearances at the age of 14 with the Indianapolis Symphony Orchestra. After studies at many places (including Yale University, where he earned his Master of Arts degree) in the United States, he went to Paris to study from 1954 to 1956. His teachers include Olivier Messiaen, Paul Hindemith, and Nadia Boulanger. For forty years, from 1958 to 1997, Blackwood taught at the University of Chicago, most of the time with the title of Professor. He then became Professor Emeritus at the University. He is still teaching classes. Blackwood's initial compositions were not particularly unconventional although in them he employed polyrhythm and wide melodic contours. This early music by Blackwood has been characterized as in an atonal yet a formally conservative style. In 1980-81 Blackwood shifted rather abruptly to a new style, releasing Twelve Microtonal Etudes for Electronic Music Media. For these pieces, he used microtonality to create unusual equal tempered musical scales. Blackwood has explored all equal temperaments from 13 through 24, including 15-ET and 19-ET.[1] Although Blackwood recorded most of these pieces with a synthesizer, his "Suite in 15-Note Equal Tuning, Op. 33" was performed live on a specially constructed guitar.[2] His compositional style moved toward a late-19th-century tonality; he has likened its harmonic syntax to Verdi, Ravel, and Franck. As a performer at the piano, Blackwood has played diverse compositions and has promoted the music of Charles Ives, Pierre Boulez, and the Second Viennese School. In addition to his solo piano performances, Blackwood is pianist in the chamber group Chicago Pro Musica, largely comprising members of the Chicago Symphony Orchestra. Blackwood has written a very substantial treatise on music harmony, A Practical Musician's Guide to Tonal Harmony which, "...springs from studies at the French National Conservatory from 1954-1957 with Nadia Boulanger."[3] Blackwood is also known for his book, The Structure of Recognizable Diatonic Tunings, (ISBN 0691091293) published 1986. A number of recordings of his music have been released by Cedille Records (the label of the Chicago Classical Recording Foundation) beginning in the 1990s such as Introducing Easley Blackwood.[4] His father, Easley Blackwood, Sr. is a noted contract bridge player and author.
Jacob Druckman Jorge Mester Kogan Pierre Boulez Pier Francesco Cavalli Louisville Orchestra Albany Symphony Orchestra New York Philharmonic 1649 1974 1976
Lamia, for soprano & orchestra (1976) Jan de Gaetani, mezzo-soprano The Louisville Orchestra Jorge Mester The magic of music has seldom celebrated the music of magic with as much force, directness and power as in Jacob Druckman's remarkable work for soprano and orchestra, Lamia. Commissioned by the Albany Symphony Orchestra, Lamia was premiered on April 20, 1974, under the batons of Julius Hegyi and Robert Kogan. The work was enlarged in 1976 with an additional movement based on a Malaysian folk conjuration. The new version was premiered by Pierre Boulez and David Gilbert with the New York Philharmonic in 1976, and was hailed as "a work of considerable imaginative power, imagery, and craftsmanship." The incredible artistry of mezzo-soprano Jan de Gaetani, soloist at all the performances, figured largely in the composition of the work. Turning to the world of the occult, the Pulitzer Prize-winning composer gathered together seven widely diverse texts - a "lucky" number - in order to celebrate those magical metaphysical powers to which people have always turned - whether an innocent provincial maiden longing for a husband, a frightened traveler warding off thieves or even death, or those darker figures like Medea whose terrifying links to the supernatural have always played havoc with the world's idea of the natural. Lamia, a mythical witch and sorceress, has long been associated with the occult. Her name as the title of the present work is not meant to personify the soloist, but to evoke the mystical atmosphere which impelled the work's creation. The piece begins with a "Folk Conjuration to make one courageous" from Lorraine, chanted by the soloist midst a subdued menacing accompaniment. The second movement opens with a quotation from Ovid in which the soloist virtually becomes the tormented Medea. Suddenly, she is no longer Medea but an innocent French maiden beseeching the moon for a glimpse of her future husband. Those sudden character shifts are central to Druckman's conception. The soloist - the sorceress - becomes another being in an instant because all existence is potentially within her life force. This feature of the work is also reflected in the unexpected - and quite wonderful - stops and starts in the orchestra. The third movement is a conjuration from Malaysia "against death or other absence of the soul." Then, in a quotation from Druckman's earlier Animus 2, the soprano begins the final movement by becoming an instrument, and pitting one conductor against the other with teasing magical sounds, bewitchingly transcending text. The figure of Medea is then evoked once more with a powerful quotation - words and music - from a 1649 opera by Pier Francesco Cavalli entitled Il Giasone, initially played by the smaller of the two orchestras. Suddenly, the soloist turns to the conductor of the large orchestra and becomes Isolde, exclaiming of herself, "Entartet Geschlecht!" ("Degenerate offspring!"), then concludes the Cavalli quotation. Finally, the larger orchestra swells as Druckman's own music accompanies Isolde's powerful incantation from the beginning of Wagner's opera. The work ends with an eerie text, a conglomeration of words worn in the 16th century on one's person as a "periapt" or charm against thieves. To achieve his own musical sorcery, Druckman divides the orchestra into two unequal parts, each with its own conductor. The resulting sonorities are tantalizing, spooky, poignant and evocative. But more than that, the orchestral division allows the soloist to interact with them in a unique and beguiling way, cajoling them, mocking them, infusing conflict. The orchestra's percussion section is extremely rich, including many of the newer instruments that have become part of contemporary symphonic sound. A spring coil with sizzles is used with particularly haunting results. [First Edition Records – LS 764] Art by Hanna Ilczyszyn
Nicolas Nabokov Louisville Orchestra Fenice 1900 1903 1956 1978
Nicolas Nabokov +••.••(...)): Symboli Chrestiani, per baritono e orchestra (1956) / William Pickett, baritono / The Louisville Orchestra diretta da Robert Whitney / Introit I - Ancora - Introit II - Palumba in ramo - Epitapha - Introit III - De ave fenice / The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
Louisville Orchestra Overton Walter Trampler Greene 2010
Provided to YouTube by The Orchard Enterprises Sonata for Viola and Piano: Sonata for Viola and Piano · The Louisville Orchestra · Robert Whitney · Hall Overton · Walter Trampler · Lucy Greene Hall Overton: Premiere Recordings: Sonata for Viola and Piano, Sonata for Cello and Piano & Symphony No. 2 ℗ 2010 soundmark records Released on: 2010-01-01 Auto-generated by YouTube.