Jürgen Sacher Vídeos
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2024-05-02
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Paul Hindemith Weber Paul Sacher Yan Pascal Tortelier Tortelier Stevenson Basler Kammerorchester Bbc Philharmonic 1895 1923 1935 1938 1943 1951 1963
Paul Hindemith (16 November 1895 – 28 December 1963) was a prolific German composer, violist, violinist, teacher and conductor. In the 1920s, he became a major advocate of the Neue Sachlichkeit (new objectivity) style of music. Notable compositions include his song cycle Das Marienleben (1923), Der Schwanendreher for viola and orchestra (1935), and opera Mathis der Maler (1938). Hindemith's most popular work, both on record and in the concert hall, is likely the Symphonic Metamorphosis of Themes by Carl Maria von Weber, written in 1943. Please support my channel on (http•••) Symphonie „Die Harmonie der Welt“ (The Music of the Spheres) Dedication: Geschrieben für Paul Sacher und das Basler Kammerorchester zum fünfundzwanzigsten Geburtstag des Orchesters I. Musica Instrumentalis (0:00) II. Musica Humana (10:42) III. Musica Mundana (20:30) BBC Philharmonic conducted by Yan Pascal Tortelier Description by Joseph Stevenson This symphony is drawn from an opera about Johannes Kepler, the great astronomer who deduced the laws of orbital motion. Kepler was looking for the exact, perfect geometrical forms / circles, squares, equilateral triangles, and the like, that he believed must describe planetary motion. He called concept "The Harmony of the Universe, " (in German, Harmonie der Welt). Ironically, he discovered that there are no such relationships concerning spacing of the planets, and also that they move not in circular but in elliptical orbits, and not even at constant speeds. The symphony has three movements, "Machine Music, " "Human Music, " and "World Music." The three movements progressively seek to illuminate higher and higher spheres of musical/astrological imagery and musical purity. The music itself is high-minded and seeks to be free from human passions (except the passion for enlightenment), and seems at times to glow with an inner radiance.
Enesco Béla Bartók Paul Sacher Zoltán Székely Kolisch Hungarian Quartet Budapest Quartet 1939 1941 1945 1998 2013
The String Quartet No. 6, Sz. 114, BB 119, was the final string quartet that Béla Bartók wrote before his death. It was begun in August 1939 in Saanen, Switzerland, where Bartók was a guest of his patron, the conductor Paul Sacher. Shortly after he completed the Divertimento for String Orchestra on the 17th, he started on a commission for his friend, the violinist Zoltán Székely. Székely was acting as intermediary for the "New Hungarian Quartet", who had given the Budapest premiere of the String Quartet No 5. With the outbreak of World War II and his mother's illness, Bartók returned to Budapest, where the quartet was finished in November. After his mother's death, Bartók decided to leave with his family for the United States. Due to the difficulties of the war, communication between Bartók and Székely was difficult, and the quartet was not premiered until 20 January 1941, when the Kolisch Quartet, to whom the work is dedicated, gave its premiere at the Town Hall in New York City. The work is in four movements ; each movement opens with a slow melody marked "mesto" (sadly). This material is employed for only a relatively short introduction in the first movement, but is longer in the second and longer again in the third. In the fourth movement, the mesto material, with reminiscences of the first movement material, consumes the entire movement. It can be seen from Bartók's sketches that he had intended the last movement to have a quick, Romanian folk dance-like character with an aksak rhythmic character,[5] but he abandoned this plan, whether motivated by pure compositional logic or despair at the impending death of his mother and the unfolding catastrophe of the war. In poor health and financially insecure, Bartók composed relatively little in the United States before his death in 1945, but, in the last year or so of his life, he made some sketches hypothesized to be the slow movement of a never completed seventh quartet. Recording made in 1998, with the record label "Pierre Verany" Picture : Amir Hossein Zanjani, "Blue Impression" (2013)
Leopold von Sacher, the son of the Commissioner of the Imperial Police Forces in Lemberg (Lviv), had every chance of not becoming Masoch. From birth, he was so weak that no one was confident that the baby would survive. He was predicted the fate of two of his mother’s brothers who died at an early age. Little Leopold was saved only by the milk of the nurse Handzia from the village of Vynnyky near Lviv, who not only put the child on his feet, but also instilled love for Ukrainians and everything Ukrainian in the future writer. “With her milk, I absorbed love for Ukrainians, absorbed the Ukrainian language and love for the land of my birth, for my fatherland. Thanks to my wet nurse, the Ukrainian language became the first one that I spoke,” later recalled Sacher, who received the addition to the surname Masoch only when he was two years old. Permission to change the surname was issued personally by Emperor Franz Joseph at the request of his grandfather Franz von Masoch, the rector of Lviv University, who, after the death of his two sons, did not want his family to end. The definition known today in psychiatry stuck to Leopold von Sacher-Masoch only at the end of his life as a result of the ill turn of the psychologist Richard von Krafft-Ebing, who used the name of Sacher-Masoch in his book Psychopathia Sexualis as a common definition of behavior described in a number of the writer's short stories. This definition not only changed the last years of the author, but also significantly distorted the subsequent understanding of his works. The patriotic pro-Ukrainian theme, which permeated a significant part of his works, was in many ways inconvenient both in the West and later in the Soviet Union. The definition of Richard von Krafft-Ebing came in handy for its suppressing, wrote Boris Lozhkin on Facebook. (http•••) (http•••) (http•••) (http•••) (http•••)
Lorsqu’on demande à Jean-Pierre Grandjean quelle est sa profession, il a pour habitude de répondre : créateur d’images. Graphiste de formation, directeur artistique de métier et photographe par passion, il a parcouru le monde, souvent avec son ami le dessinateur Cosey, pour en ramener d’innombrables images. Passe-moi les Jumelles l’a suivi au Laos lors d’un mandat pour l’ONG suisse Helvetas, où ce passionné de spiritualité et de bouddhisme a pu également poursuivre son projet photographique autour des représentations du Bouddha. Passe-moi les jumelles du 18 novembre 2016, une émission de la Radio Télévision Suisse. « Laos, dessiner avec la lumière » un reportage de Romain Guélat Image : Pascal Gauss Son : Beat Lambert Montage : Valérie Wacker Illustration sonore : Ariane de Montmollin Etalonnage : Anne-Laure Sacher Mixage : Pierre Bader Lieux de tournage : Laos, Gruyères #Passemoilesjumelles #Paju Passe-moi les jumelles: Toutes les vidéos: (http•••) FaceBook: (http•••) Retrouvez la Radio Télévision Suisse: Site: (http•••) Portail vidéo: (http•••) YouTube: (http•••) Facebook: (http•••) Twitter: (http•••) Instagram: (http•••) Google+: (http•••)
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- cronología: Cantantes líricos (Europa).
- Índices (por orden alfabético): S...