James Baillieu Vídeos
intérprete
- piano
- Reino Unido
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2024-05-09
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Reynaldo Hahn Hahn Benjamin Baker Lowe James Baillieu Fauré Schubert Mendelssohn Cheek Bayreuth Messager 1874 1875 1921 1922 1947 2015
Reynaldo Hahn +••.••(...)) - Piano Quintet in F-sharp minor (1921) I. Molto agitato e con fuoco [0:00] II. Andante, non troppo lento [12:39] III. Allegretto grazioso [23:06] Benjamin Baker & Bartosz Woroch, violin Adam Newman, viola Tim Lowe, cello James Baillieu, piano (2015) Reynaldo Hahn's Piano Quintet is a work in three movements typically lasting around 28 minutes. "Hahn’s Piano Quintet was composed in 1922 and published the following year. Its opening is fresh, agreeably direct and completely without preamble. The style is both comfortably eclectic and unashamedly retrospective: modulation techniques suggest the most youthful works of Fauré, such as his A major Violin Sonata, Opus 13 (1875/6), while the natural songwriter’s intermittent taste for unassuming chordal repetition in the piano accompaniment to overt thematic exposition suggests a remote debt to Schubert. The music—and in particular its fleet-footed but economical piano part—has a deft, lucid mobility and an economy of rhetorical gesture far less easy to achieve than it sounds. A Dvorák-like openness and quasi-vernacular charm comes and goes, while at other times the pianist’s indefatigable ripplings suggest Mendelssohn’s piano-trio writing. A memorably successful second subject gives place to resourceful examination of both principal ideas. F sharp major expansiveness asserts itself late on in the movement, only to be subverted by the almost tongue-in-cheek terseness of a final return to the minor. The slow second movement presents a soulful, song-like theme in C sharp minor. Fauré seems to preside more closely over the unhurried triple time and the instrumentation itself. Tritonal opposition of non-cadential dominant sevenths and ninths enhance the ‘sidestepping’ effect of key changes, perhaps reminding one that the youthful Fauré had pursued Wagner performances to Bayreuth and to England in company with Messager in the eighteen-eighties, and suggesting that Wagnerian technique (not generally very apparent in Fauré’s stylistic make-up) might nonetheless be a productive subliminal influence for the perceptive Fauré disciple. This movement remains predominantly introverted, ostensibly heading towards a climax but then relaxing into the idyllic retrospection of an unexpected F major episode (ushering in a change of time signature). The dominant pedal note underpinning this passage conveys a certain quasi-rustic wistfulness which again suggests the prayer-like sensibility of certain quiet Dvorák chamber movements. Subsequent features include string unison writing (typical of Fauré) at moments of heightened intensity, ingenious combination of the themes from both foregoing sections (and time signatures), and a reprise of the secondary paragraph, heard now a semitone lower than before. The movement reaches an unhurried conclusion in the key of C sharp major. The Quintet’s third and last movement plays a time-honoured ‘is-it-a-scherzo/intermezzo-or-a-finale?’ game, launching itself with amiable simplicity as another would-be rustic conception over a musette-like pedal note. As this proceeds it begins to admit a touch of melodic ‘neo-Baroquery’. This, in studiedly perverse combination with the homespun wistfulness of the initial conception, seems almost to suggest the improbable intrusion of some synthetically conceived public school song. More to the point, it conveys a shrewdly misleading impression of much more episodic and unassuming structural thinking than is actually at work, as does the Schumannesque cleanness of the ensuing episode’s dialogue between melodic piano octaves and punctuating harmonic strings. Soon the main theme burgeons momentarily in E major. The thematic material of the first movement now becomes more prominent. Some ingeniously resourceful combination of these ideas with those of the slow movement ensues (embracing a mischievous false recapitulation in the key of F major, not F sharp) before a radiant statement of the inspired second subject from the work’s first movement bursts forth in A major. This, however, is not allowed to gain ideas above its station, and nor are we as near the end of the work as its appearance seems to suggest. The generalized example of Fauré and the specific one of Dvorák’s A major Piano Quintet seem to compete amicably (and convincingly) for the limelight. A recapitulation beset by agreeable sleights-of-hand extends the canonic and other possibilities of the music in an F sharp major coda which is in no hurry to end the proceedings but which, thanks to the memorably distinct nature of the principal themes, never threatens to outstay its welcome." (source: Hyperion)
Jan Petryka James Baillieu Franz Schubert 1797 1828 2021
Jan Petryka tenor James Baillieu piano Franz Schubert +••.••(...)) Schwanengesang Liebesbotschaft Kriegers Ahnung Frühlingssehnsucht Ständchen Aufenthalt In der Ferne Abschied Der Atlas Ihr Bild Das Fischermädchen Die Stadt Am Meer Der Doppelgänger Dimecres, 10 novembre 2021 Sant Pau Recinte Modernista (Barcelona)
Gianluca Buratto Buratto James Baillieu Giuseppe Verdi Krystian Adam Francesca Aspromonte Caron Wigmore Hall 2009 2016
MOZART Madamina, il catalogo e questo (Don Giovanni) Gianluca Buratto - Bass James Baillieu - Pianist Rosenblatt Recital, Wigmore Hall, London 12.01.2016: A former winner of the International Ferruccio Tagliavani Singing Competition, Buratto made his opera stage debut in 2009 at the Giuseppe Verdi Theatre in Italy. “ The powerful bass of Gianluca Buratto as Caronte, or Charon, reluctant to take a living man across the river into the realm of the dead." Washington Post “The singers were terrific, especially the dapper Krystian Adam (Orfeo), the multifaceted Francesca Aspromonte (Music, Hope and Eurydice) and the booming Gianluca Buratto (Caron and Pluto).” LA Times Rosenblatt Recitals are London's only world-class concert season of opera and song. Want to know more? Find us on Facebook and Twitter: www.www.facebook.com/rosenblatt.recitals/ www.twitter.com/RosenblattOpera www,rosenblattrecitalseries.co.uk
Timothy Ridout James Baillieu Eric Coates Coates
The Cecil Aronowitz International Viola Competition presents a teaser video for its upcoming documentary 'Cinderella No More: The English Viola Legacy'. With Timothy Ridout and James Baillieu performing 'First Meeting (Souvenir)' by Eric Coates. www.Facebook.com/CAIVCF
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- cronología: Intérpretes (Europa).
- Índices (por orden alfabético): B...