John Curwen Vídeos
profesor de música
- Reino Unido de Gran Bretaña e Irlanda
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2024-05-07
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Ralph Vaughan Williams Thomas Tallis Andrew Davis Sir Edward Elgar Curwen 1567 1872 1906 1910 1921 1958 1999
Ralph Vaughan Williams OM (12 October 1872 – 26 August 1958) was an English composer. His works include operas, ballets, chamber music, secular and religious vocal pieces and orchestral compositions including nine symphonies, written over sixty years. Strongly influenced by Tudor music and English folk-song, his output marked a decisive break in British music from its German-dominated style of the 19th century. Please support my channel: (http•••) Fantasia on a Theme by Thomas Tallis, for 2 string orchestras (1910) BBC SO conducted by Andrew Davis BBC MM83 Watch the same performance here live: (http•••) Description by Mark Satola [-] The first performance of Vaughan Williams' Fantasia on a Theme by Thomas Tallis took place at the Three Choirs Festival in Gloucester Cathedral on September 6, 1910. The program was primarily devoted to Sir Edward Elgar's oratorio The Dream of Gerontius, which may partly account for its relatively cool reception. But its treatment, unusual for its day, of the unusual source material may also have puzzled the audience. Vaughan Williams encountered Tallis' hymn while editing The English Hymnal in 1906; it had first appeared in Archbishop Parker's Metrical Psalter in 1567, set to the words, "Why fumeth in fight?" The peculiar modal qualities of the tune, with its prominent flatted seventh, not only allowed the composer considerable harmonic freedom from the prevailing strictures of diatonicism and chromaticism, but also made possible the simultaneous sense of the ancient and the modern that is the work's hallmark. The Tallis Fantasia is scored for two string orchestras, one functioning as a "distant" choir, and a solo string quartet. After five widely spaced chords and a few bars in which the theme is fragmentarily mused upon by pizzicato basses, cellos, and swaying middle strings, arco, Tallis' hymn tune is stated in its original harmony by violas and celli with tremolando accompaniment by the high strings, and is then repeated in a setting that exploits all of the harmonic and contrapuntal facilities of a large string section. The string choirs then separate for a short section in which fragments of Tallis' theme in the first string orchestra are answered by distant chordal musings from the second orchestra. This serves not only as a brief development section but also introduces the solo string quartet, whose masterly counterpoint demonstrates Vaughan Williams' affinity for stringed instruments. As the rhapsodic meditation increases in intensity, the more modern aspects of the composition come into focus, with vaguely impressionistic harmonies mingling with the modal, leading to an impressive climax in which the two orchestras are unleashed in their full chordal power. The string quartet leads a final, luminous musing on Tallis' tune, and the Fantasia ends with a short coda in which the solo violin pronounces a brief benediction as the orchestra falls away. Publisher info: London: J. Curwen, 1921. Curwen Edition, 90722. Reprinted: Mineola: Dover Publications, 1999. Copyright: Public Domain - Non-PD EU
Ono John Curwen Celo Alvarado Zoltán Kodály Kodály 1882 1967 1977 1991
ENTRE MANOS (ROKA ROKI): KODA, ZANKA, NEBULA Dovršeni projekti Charlsa Juhásza-Alvarade, ki je študiral kiparstvo in arhitekturo, se navdihujejo tako pri zgodovini kot pri zdajšnjih dogodkih. Njegovi ambiciozni podvigi vsebujejo zvok, pripoved, prispevke sodelovanja in zlasti izkušnje na kraju samem (site-specific art). Nedavna instalacija na prostem zajema tudi tolkalo; naročeno delo za podeželski prostor vključuje ročno izdelane lesene ksilofone, skulpturne ograjne stebričke na mostu, na katere so lahko obiskovalci, ki so prihajali na most in odhajali z njega, tudi zaigrali. Po sorodni zamisli umetnik "komponira melodijo" v štirih stavkih za 118 plakatov, ki obrobljajo Jakopičevo promenado v parku Tivoli. Podobe, ki obdajajo klopce, se zrcalijo ali rimajo ter tako učinkujejo kot zbor. Pri delu s Karen Albors, katere starši so slušno prizadeti, je ustvaril vizualno sekvenco, ki se razgrinja pred gledalci med sprehajanjem po promenadi v to ali ono smer. Umetnikova sestra, pisateljica in prevajalka (iz španščine v angleščino) Emeshe Juhász-Mininberg, je prispevala besedila, povezana z vsako od podob, ki združena oblikujejo pesem. Nanašajo se na podobe, vendar tudi tkejo kadenco, ki na poti spremlja gledalce. Slovenska različica in oblikovanje, delo Mine Fine, pomenita še eno partnerstvo, ki poudarja kontrapunkt jezikov ter obenem postavlja v ospredje prevod, naključje in izmenjavo. Projekt se nanaša na univerzalne, skupne točke, kajti le tako lahko izvabi čustveno dojemanje. Projekt se nemara nanaša tudi na Zoltána Kodálya +••.••(...)), madžarskega skladatelja in pedagoga, čigar vplivna pedagoška metodologija je izpopolnila ročni znakovni jezik, ki ga je izumil angleški duhovnik in učitelj glasbe John Curwen. Curwen je svoj znakovni sistem razvil za potrebe glasbene notacije, saj je bil prepričan, da bi morala biti glasba dostopna vsem ljudem. V filmu Bližnja srečanja tretje vrste (1991) Stevena Spielberga so Curwenovi ročni znaki celo uporabljeni za sporazumevanje z nezemeljskimi bitji. Podobno si tudi Juhász-Alvarado, ki je v svoja ozadja vključil podobe iz Portorika in iz Ljubljane, nenehno prizadeva za srečevanje, komunikacijo, raziskovanje in izmenjavo. / ENTRE MANOS (FROM HAND TO HAND): CIPHER, KNOT, NEBULA Trained in sculpture and architecture, Juhász-Alvarado's elaborate projects are inspired by history and current events. His ambitious undertakings contain sound, narrative, collaborative contributions, and participatory and site-specific experiences. Recent outdoor installations incorporate percussion; a commission for a rural site includes handmade wooden Xylophones as sculptural bridge banisters that can be played by entering and exiting visitors. In a related idea, the artist composes a 'melody' in four movements for the 118 posters lining the Jakopič Promenade in Tivoli Park. Flanking the benches, the images mirror or rhyme to act as a choir. Working with Karen Albors, whose parents are both hearing-impaired, he created a visual sequence that unfolds as viewers walk up or down the esplanade. The artist's sister, Emeshe Juhász-Mininberg, a writer and translator (working in Spanish and English), collaborated on the 'lyrics' related to each image that build the 'song'. These allude to the images but also weave a cadence to accompany viewers on the path. The Slovene version and design by Mina Fina are yet another partnership, emphasising the counterpoint of languages while foregrounding translation, chance, and exchange. The project depends on universal commonalities to elicit emotional understanding. Perhaps this project also refers to Zoltán Kodály +••.••(...)), a Hungarian composer and educator whose influential teaching methodology improved upon hand signs invented by English minister and music teacher, John Curwen. Curwen developed his gestural system for sight-reading and musical notation, convinced that music should be accessible to all people. (In Steven Spielberg's 1977 film Close Encounters of the Third Kind, Curwen's hand signs are even used to communicate with aliens.) Juhász-Alvarado, who has incorporated images from both Puerto Rico and Ljubljana in his backgrounds, similarly fosters meeting, communication, exploration, and exchange.
Gustav Holst Knorr Curwen Hubert Parry Ralph Vaughan Williams Lays 1874 1908 1921 1926 1934
Sometimes I get into a patriotic mood, and I make no apology for that. "I Vow to Thee, My Country" is a British patriotic song, created in 1921, when a poem by Sir Cecil Spring Rice was set to music by Gustav Holst. In 1921, Gustav Holst +••.••(...)) adapted the music from a section of Jupiter from his suite The Planets (Op. 32 IV) to create a setting for the poem. The music was extended slightly to fit the final two lines of the first verse. At the request of the publisher Curwen, Holst made a version as a unison song with orchestra (Curwen also published Sir Hubert Parry's unison song with orchestra, "Jerusalem"). This was probably first performed in 1921 and became a common element at Armistice memorial ceremonies, especially after it was published as a hymn in 1926. Holst in 1926 harmonised the tune to make it usable as a hymn, which was included in the hymnal Songs of Praise. In that version the lyrics were unchanged, but the tune was then called "Thaxted" (named after the village where Holst lived for many years). The editor of the new (1926) edition of Songs of Praise was Holst's close friend Ralph Vaughan Williams, which may have provided the stimulus for Holst's cooperation in producing the hymn (courtesy of Wikipedia). The origin of the lyric is a poem by British diplomat Cecil Spring Rice, which he wrote in 1908 while posted to the British Embassy in Stockholm. Then called Urbs Dei (The City of God) or The Two Fatherlands, the poem described how a Christian owes his loyalties to both his homeland and the heavenly kingdom. I Vow to Thee My Country I vow to thee, my country, all earthly things above, Entire and whole and perfect, the service of my love; The love that asks no question, the love that stands the test, That lays upon the altar the dearest and the best; The love that never falters, the love that pays the price, The love that makes undaunted the final sacrifice. I heard my country calling, away across the sea, Across the waves and waters, she calls and calls to me. Her sword is girded at her side, her helmet on her head, And around her feet are lying the dying and the dead; I hear the noise of battle, the thunder of her guns; I haste to thee, my mother, a son among thy sons. And there's another country, I've heard of long ago, Most dear to them that love her, most great to them that know; We may not count her armies, we may not see her King; Her fortress is a faithful heart, her pride is suffering; And soul by soul and silently her shining bounds increase, And her ways are ways of gentleness, and all her paths are peace. I took these photos in London (Palace of Westminster; Hyde Park; Eros, Piccadilly; Horse Guards; Whitehall; St. Pancras Station (bronze statue of poet Sir John Betjeman)); Lincoln Cathedral; and in the Peak District National Park, Derbyshire, England. Here, Holst's music has been arranged by Geoff Knorr and performed by the Prague FILMharmonic under the baton of conductor, Andy Brick.
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