Arthur Edmund Grimshaw Vídeos
compositor
- Reino Unido
Última actualización
2024-05-08
Actualizar
An expert-led online lunchtime discussion on how to apply Circular Economy principles into UK construction projects, with a focus on RIBA Stage 5: Manufacturing and Construction. We’ll be discussing material selection and material passports; testing, warranties and liabilities; material lead times and viability; required design skills, risk management, procurement routes and how to conduct productive detailed discussions with fabricators, manufacturers, suppliers, and potential subcontractors/contractors to ensure circularity. Date recorded - 11th March 2021 SUBSCRIBE: (http•••) For more information about ACAN and to join our mailing list visit: (http•••) Speakers: - Peter Swallow, Grimshaw Architects - Peter Kelly, ISG ltd Register now for a perfectly rounded lunch hour. Zoom details will be sent to all attendees ahead of the event. More info about the series: The ACAN Circular Economy group have been focusing on how circular economy principles can be applied within the context of the UK construction industry. This nine-part event series addresses the key challenges and opportunities of realising CE approaches at each of the RIBA stages, from strategic definition in Stage 0 through to the building in use at Stage 7. To close the circle, we’re also going to discuss a proposed ‘Stage 8’ to address building deconstruction and reuse. We’ve invited experts from across the industry to interrogate how we can dig down into the nitty gritty of how to incorporate circularity in UK construction in a meaningful way. / Theme music by Own Crouch (http•••) Welcome to the OFFICIAL Architects Climate Action Network (ACAN) YouTube channel! Architects Climate Action Network is a network of individuals from within architecture and it’s related built environment professions taking action to address the twin crises of climate and ecological breakdown. We recognise the compelling scientific consensus that our present trajectory will lead to catastrophe if we do not make ambitious and radical changes as a matter of urgency. We are already seeing the consequences. We also acknowledge that the built environment is a major contributing factor to the climate crisis and as such requires complete and rapid transformation (which we are yet to witness). We can no longer remain secluded within personal and professional silos and instead must harness our agency as citizens with shared professional backgrounds to bring about the necessary changes to our industry. As a network of individuals, ACAN is able to act at speed, without conflict of interest, and is open to methods that may be unavailable to other campaign organisations. #ACAN #ACANCircularSeries #ClimateChange #Architecture
Johann Georg Heinrich Backofen Atkinson Grimshaw Concerto Amsterdam 1768 1830 1836 1893
Autor: Johann Georg Heinrich Backofen +••.••(...)) Obra: Sinfonia Concertante A-Dur, Op.10 Intèrprets: Klocker, Dieter (clarinet) | Wendel, Waldemar (clarinet) | Concerto Amsterdam (orchestra) | Schroder, Jaap (conductor) Pintura: John Atkinson Grimshaw +••.••(...)) - The Broomielaw Glasgow
Charles Koechlin Atkinson Grimshaw 1867 1908 1921 1950
Charles Koechlin +••.••(...)): Quintette pour piano et cordes, Op.80 +••.••(...)). I. "L'attente obscure de qui sera..." II. "L'assaut de l'ennemi..." [10:36] III. "La Nature consolatrice..." [21:06] IV. "La Joie" Final [31:40] Centre Ntional de Musique de Chambre d'Aquitaine. Cover image: painting by John Atkinson Grimshaw.
Peter Schreier Franz Schubert Sviatoslav Richter Haydn Mozart Mahler Berg Grimshaw Baumann Jacques Chailley Linden 1797 1822 1827 1828
Winterreise (D. 911): I. Gute Nacht 00:00 II. Die Wetterfahne 06:28 III. Gefrorne Tränen 08:22 IV. Erstarrung 11:22 V. Der Lindenbaum 14:23 VI. Wasserflut 19:59 VII. Auf dem Flusse 24:53 VIII. Rückblick 28:22 IX. Irrlicht 30:38 X. Rast 33:53 XI. Frühlingstraum 37:30 XII. Einsamkeit 41:50 XIII. Die Post 45:07 XIV. Der greise Kopf 47:29 XV. Die Krähe 50:36 XVI. Letzte Hoffnung 52:00 XVII. Im Dorfe 53:37 XVIII. Der stürmische Morgen 56:31 XIX. Täuschung 57:23 XX. Der Wegweiser 59:06 XXI. Das Wirtshaus 01:03:49 XXII. Mut 01:08:20 XXIII. Die Nebensonnen 01:09:44 XXIV. Der Leiermann 01:12:40 Schubert, Franz +••.••(...)) -composer Peter Schreier -tenor Sviatoslav Richter -piano Scores: Available for free at imslp.org For more of Austrian songs check out my "The art of Austrian song: Haydn, Mozart, Schubert, Mahler, Berg" playlist. Description by Jeremy Grimshaw: The breadth of scholarly approaches to Franz Schubert's song cycle Die Winterreise testifies to the structural and dramatic complexity of the work; assessments range from complicated graphs, complete with interlocking axes and cryptic semantic labels, to outright sighs of resignation over the work's intractability. Perhaps this intrigue is what attracts performers and academics alike to the work; singer and scholar Michael Besack traces the ambiguous dramatic trajectory of Schubert's cycle back to antiquity. "Epic poetry and the tragic theater never produced a story with a moral," he pointed out. A central question concerning the cycle is whether it really is one. The two dozen poems by Wilhelm Müller that Schubert took as his texts appeared piecemeal in three separate publications between 1822 and the completion of Schubert's setting in 1827; Müller's third publication, finally bearing the title Schubert would adopt, featured the newest poems along with the ones previously published (though the latter were reordered). The chronology of Schubert's setting also calls the idea of a continuous cyclical narrative into question: he set Müller's initial 12 songs early in 1827, then completed the other dozen later that year. Still, while some of the individual songs are frequently performed alone, one can easily read a composite story into the cycle. Literary scholar Cecilia Baumann describes the work as "a simple story of a rejected lover who leaves the town where his love resides and sets out in winter on an aimless journey." Schubert biographer Jacques Chailley reads a different kind of journey: "not simply that of a scorned lover / he is only a phantom / but an image behind which one can discern at each moment the journey of man toward the tomb: Die Winterreise is the sinister voyage of life." Such existential ideas gain support from the bleakness of Auf dem Flusse (At the River), in which the lover's description of the frozen stream seems to shade into one of a physical corpse, and of the melancholy hurdy-gurdy-man's lament that ends the cycle. The songs ruminate on, rather than depict, events that have befallen the rejected lover; as the first two lines of the first song indicate ("A stranger I came hither, a stranger hence I go"), the journey has already taken place: the famous fifth song, Der Lindenbaum, likewise centers on symbols of remembrance. Schubert's introduction establishes a tranquil major mode with an airy, fluttering accompaniment; it becomes apparent that this figure represents the rustling of the eponymous lime tree. "Upon its bark when musing, fond words of love I made," the wanderer tells listeners, "and joy alike and sorrow still drew me to its shade." Only briefly do the mode and mood of the music change to minor, in direct correlation to the image of passing the tree in darkness. These pictorial elements lie only on the surface, however. Certain musical elements create a sense of geographical and chronological remove: the rustling figure is constantly interrupted by a leap up to a quaint stepwise descent; the echo of a "hunting horn" figure suggests distance / spatial and temporal; the wind blows off the wanderer's hat, but he trudges forward without even turning around. The cold wind listeners that it is winter; the presence of leaves is unlikely. The rustling sound is not a real, but an imagined, phenomenon: "Now many leagues I'm far from/The dear old linden tree/[But still] I ever hear it murmur/'Peace thou wouldst find with me.'" Schubert's song does not evoke images; it evokes the act of remembering images.
o
- cronología: Compositores (Europa).
- Índices (por orden alfabético): G...