Claude Debussy Vídeos
compositor y pianista francés
12
- piano
- ópera, música clásica
- Segundo Imperio francés, Tercera República Francesa, Francia
- compositor, pianista, crítico musical
streaming
Última actualización
2024-05-05
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Claude Debussy Claudio Abbado Bruckner Alder Eberhardt Behrens Maillard London Symphony Orchestra 1987 2023
Provided to YouTube by Universal Music Group Debussy: Images for Orchestra, CD 118 - II. Ibéria: c. Le matin d'un jour de fête · London Symphony Orchestra · Claudio Abbado Abbado: Bruckner - Debussy ℗ 1987 Deutsche Grammophon GmbH, Berlin Released on: 2023-02-17 Producer: Gunter Breest Producer, Recording Producer, Studio Personnel, Editor: Christopher Alder Studio Personnel, Balance Engineer: Klaus Hiemann Studio Personnel, Recording Engineer: Jobst Eberhardt Studio Personnel, Recording Engineer: Klaus Behrens Studio Personnel, Editor: Rainer Maillard Composer: Claude Debussy Auto-generated by YouTube.
Debussy Ravel Bach Shostakovich Ramos Cayabyab Bautista Sims Montenegro 1830 1909 2021
Bedroom Concerto #1 2021, Dominic Laxamana. All rights reserved. In partial fulfillment of the requirements of MuP 196 Playing time: 47 minutes Bedroom Concerto #1 is a seven-movement opus for orchestra, granulated samples, and synthesized melodic and percussion instruments. It is a work that can be performed live in the concert hall, but due to limited resources accentuated by the Covid-19 lockdown, the recording for my graduation recital is created with MIDI programming and sampled playback. The accessibility of computer programs and recording equipment allows one to create his/her own cost-efficient large work created specifically for listening at home or on the go. The melodic weaving between synthesizer presets and orchestra is an extension of the impressionist orchestration innovated by Debussy and Ravel. Klangfarbenmelodie (tone-color melody) is also incorporated. Melodic synthesizers are assigned modulating timbres for smoothly shifting instrumentation via mod wheel automations. Regarding other elements of music, polyrhythms are used to create time-based textures. Chromaticism is employed for tonal obfuscation. The structure of the piece is a dialogue between musique concrète and a more familiar convention of orchestral music. A recurring motif, based on the pelog scale of the Indonesian gamelan, is heard throughout the whole opus in various transmutations. The theory of evolution serves as my narrative basis, with a specific focus on mankind’s struggle to live in harmony with nature. I. Prologue (02:17) The first movement prologue starts in the key of G# minor but the latter part is a musique concrète work created with the same orchestral renderings of the first part of the prologue, only to be cut, stretched, spliced, pitch-shifted, and filtered through various granular synthesizer effects (I used Hadron Granular Synthesizer). II. Sonata (06:45) Keeping with the tradition of symphonies and concertos (though not placed as the first movement), a sonata form in D# minor takes form as the second movement. III. Interlude 1 (18:30) The third movement, a concrète interlude, still utilizes the same orchestral samples as the prologue, but spliced and pitch shifted to anticipate motifs of the other movements (such as the subject of the succeeding fugue). The interlude ends with samples that are spliced to mimic the interlocking patterns of the Philippine gangsa commonly heard in the Cordillera highlands. IV. Fuga (23:56) The fourth movement is a fugue in C# minor. The contrapuntal basis for the fugue has a subject and three countersubjects. The four voices are spread across the performing groups. Instead of keeping a constant time signature like the fugues of Bach and Shostakovich, this fugue has shifting time signatures with callbacks to established motifs. The structure of the movement is one mise-en-scène exposition and eleven episodes of free counterpoint interjected with several codettas and strettos. V. Interlude 2 (34:16) The fifth movement, which is the second concrète interlude, is a recap of the primordial listening of the previous concrète sections after an exhibition of harmonies that humans have evolved to develop and appreciate. The inclusion of this interlude is a mere reflection of humanity being a synthesis of the past and present, whose future is determined by both its willpower and its uncontrollable probabilities. VI. Time Mandala (37:04) The sixth movement, Time Mandala, is chronologically the first conceived movement of the concerto. It is based on a derived pelog scale of the Indonesian gamelan and the idea had been expanded into the other orchestral movements. VII. Epilogue (48:16) The final movement is a concrète epilogue that features the whole orchestral recording of the prologue, albeit the recording being spliced and reversed, signifying the work has come full circle. Credits: Public domain clips provided by Pixabay.com Public domain photos of the cosmos by NASA Bob’s Electric Theatre (1909), dir. Segundo de Chomón Recital poster by Patricia Ramos Instagram: (http•••) Facebook: (http•••) Acknowledgements: UP College of Music, Diliman, Quezon City UP CMu College of the Office Secretary UP Conemus Prof. Josefino “Chino” Toledo Dr. Verne de la Peña Dr. Maria Christine Muyco Dr. Marie Jocelyn Marfil Prof. Mary Katherine Cabral Dr. Jonas Baes Dr. Beverly Shangkuan-Cheng Ms. Cristina Maria Cayabyab Kuya Jec Bautista Sims family Bongosia family Montenegro family Dr. Rodel Noreli E. Lorenzo Dr. Albert Magcalas Mang Fred’s MusiKolektibo Mga tambay sa gilid ng College of Music Last but not least, my family
CLAUDIO ABBADO – A MEMOIR PERSONAL MEMOIRS OF THE EXCEPTIONAL IMPACT THAT CLAUDIO ABBADO MADE ON MUSICIANS AND AUDIENCES A VIDEO PODCAST SERIES BY JON TOLANSKY In the words not only of distinguished singers and orchestra musicians, but also in a very rare interview with Claudio Abbado himself, five podcasts recall highlights of Maestro Abbado’s highly acclaimed conducting of orchestral and operatic music preserved in award winning Deutsche Grammophon recordings. Hosted and produced by Jon Tolansky, who recorded all the interviews. Claudio Abbado – A Memoir #1/5 | Introduction Listen to 'Debussy: La damoiselle élue': (http•••) Subscribe here - The Best Of Classical Music: (http•••) / Find Deutsche Grammophon Online Homepage: (http•••) Facebook: (http•••) Twitter: (http•••) Instagram: (http•••) Newsletter: (http•••) / 最高のクラシック音楽―登録はこちら: (http•••) 最优质古典音乐 – 此处订阅: (http•••) Лучшая Классическая Музыка - Подписаться: (http•••) La mejor música clásica - Suscríbase aquí: (http•••) Le meilleur de la musique classique. Pour vous abonner cliquez ici: (http•••) #ClaudioAbbado #Debussy #Opera
Claude Debussy Michiyoshi Inoue Inoue New Japan Philharmonic Suntory Hall 2021
New Japan Philharmonic, #638 Suntory Hall Series 29th Nov, 2021, Suntory Hall, Tokyo Claude Debussy : Prélude à l'après-midi d'un faune Conductor: Michioyoshi INOUE Concertmaster:Munsu CHOI Orchestra: New Japan Philharmonic 新日本フィルハーモニー交響楽団 第638回 定期演奏会〈サントリーホール・シリーズ〉 2021年11月29日 サントリーホール クロード・ドビュッシー : 牧神の午後への前奏曲 指揮:井上道義 コンサートマスター:崔文洙 管弦楽:新日本フィルハーモニー交響楽団
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- cronología: Compositores (Europa). Intérpretes (Europa).
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