Tessa Lark Vídeos
violinista estadounidense
- violín
- Estados Unidos
- violinista
Última actualización
2024-05-09
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Maria Ivogün Meyerbeer Verdi Brunswick Massenet Lark Shakespeare Schubert Kreisler Eckert Arditi Chopin Tosti Odeon 1891 1917 1919 1923
Maria Ivogün II * 18. November 1891 Budapest Ihr edlen Herrn allhier Arie des Pagen Urban aus "Die Hugenotten" (Meyerbeer) Aufgenommen 1919 Odeon LXX 76997 (Matr. Nr. XXB 6384) 2. Version Teurer Name dessen Klang (ital. ges.) Arie der Gilda aus "Rigoletto" (Verdi) Aufgenommen 1923 Brunswick 50081 B Je marche sur tons les chemins Szene der Manon manon" (Massenet) Aufgenommen 1923 Brunswick 50081 A Charmant Oiseau Arie aus "Perle du Bresil" (David) Aufgenommen 1923 Brunswick 30101 A Lo, here the gentle lark (Bishop-Shakespeare) Aufgenommen 1923 Brunswick 10174 B Horch! Horch! die Lerch (Schubert-Shakespeare) Aufgenommen 1923 Brunswick 10119 A Die Post (Schubert-Müller) Aufgenommen 1923 Brunswick 10119 B G’schichten aus dem Wiener Wald, Walzer (Strauß) Aufgenommen 1923 Brunswick 30107 A An der schönen blauen Donau, Walzer (Strauß) Aufgenommen 1923, Brunswick 10174 A O schöner Mai, Walzer (strauß) Aufgenommen 1923 Brunswick 50050 B : (30105 B) Liebesfreud (Kreisler) Aufgenommen 1923 Brunswick 50050 A : (30105 A) Schweizer Echolied (Eckert) Aufgenommen 1923 Brunswick 30107 B II Bacio (Arditi) ital ges. Aufgenommen 1923 Brunswick 30101 B Vilanelle (del Acqua) franz. ges. Aufgenommen 1917 Odeon XX 76981 (Matr. Nr. XXB 6331) Nocturne (Chopin-Tosti) . Aufgenommen 1917 Odeon LXX 76975 (Matr, Nr. XXB 6332)
Lark Loewenguth Franz Joseph Haydn Loewenguth Quartet 2017
Provided to YouTube by NAXOS of America String Quartet No. 53 in D Major, Op. 64 No. 5, Hob. III:63 "The Lark": III. Menuetto. Allegretto · Loewenguth Quartet Loewenguth Quartet, Vol. 1: Haydn & Mozart ℗ 2017 DOREMI Released on: 2017-08-18 Ensemble: Loewenguth Quartet Composer: Franz Joseph Haydn Auto-generated by YouTube.
Ivor Gurney Adolf Busch Busch Carl Flesch Hamilton Harty John Barbirolli Manley Boyd Neel Frank Bridge Benjamin Britten John Ireland Beethoven Ralph Vaughan Williams Lark Bach Henry Purcell Dvořák Arthur Benjamin Benjamin Dale Lennox Berkeley Kenneth Leighton Edmund Rubbra York Bowen Howard Ferguson Arthur Bliss Béla Bartók Handel Rachmaninoff Smetana Arnold Bax Yehudi Menuhin London Symphony Orchestra Aeolian Quartet Salzburg Festival Proms 1686 1697 1718 1908 1909 1911 1927 1930 1935 1936 1937 1938 1940 1942 1947 1952 1963 1966 1978 1979 1987
The Apple Orchard by Ivor Gurney, Frederick Grinke - Violin Ivor Newton - Piano Recorded in 1942. The Apple Orchard is one of two short pieces written for violin and piano by Ivor Gurney that were published posthumously in 1940. Frederick Grinke CBE (8 August 1911 – 16 March 1987) was a Canadian-born violinist who had an international career as soloist, chamber musician, and teacher. He was known especially for his performances of 20th-century English music. He started to learn the violin at the age of 9, and studied with John Waterhouse and others in Winnipeg. He made his first broadcast at the age of about 12, and formed a trio at age 15. In 1927, he won a Dominion of Canada scholarship award to the Royal Academy of Music in London, where he studied with Rowsby Woof. He continued his studies (at age 21) for a summer with Adolf Busch in Switzerland, and afterwards in Belgium and London with Carl Flesch. Hamilton Harty considered appointing him leader of the London Symphony Orchestra at the age of 21, but the offer was not made on account of his youth. From around 1930 to 1936, Grinke was second violin of the Kutcher String Quartet (in which John Barbirolli was for a time the 'cellist). In 1935, with pianist, Dorothy Manley, he gave the premiere of the Canadian composer Hector Gratton's Quatrieme danse canadienne. It was with Manley and Florence Hooton, both fellow students at the Academy, that Grinke formed his trio, Kendall Taylor later replacing Manley. In 1937 he became concertmaster of the Boyd Neel Orchestra, a post he would hold until 1947. His first performance with them was at the Salzburg Festival in 1937, giving the premiere of the Variations on a Theme of Frank Bridge by Benjamin Britten. Thereafter he performed with them in Europe, USA, Australia and New Zealand, the London Proms, and at the Edinburgh Festival. He resigned as concertmaster to pursue his solo career. During the later 1940s, Grinke made numerous recordings, mainly for Decca, many of which were originally released in the last years of 78rpm records. His recordings of John Ireland's chamber music include the Phantasie Trio of 1908, the 1938 Trio no 3 in E major, and The Holy Boy (with Florence Hooton (cello) and Kendall Taylor (piano)), and the Violin Sonata no 1 of 1909 with the composer at the piano. The trio also recorded the Phantasy trio of Frank Bridge and the Beethoven trio in E flat. Ralph Vaughan Williams dedicated his Sonata in A minor, written in 1952, to Grinke, who recorded the composer's Concerto Accademico in D minor, and The Lark Ascending, with the Boyd Neel Orchestra. Grinke and David Martin (also a Canadian violinist) performed J.S. Bach's Concerto for two violins at Vaughan Williams's funeral. Among other recordings from the 1940s were no's 3 and 9 from the 1697 set of 10 Sonatas by Henry Purcell, with Jean Pougnet and Boris Ord, and Purcell's sonata in G minor with Arnold Goldsbrough. He is heard with Kendall Taylor in the Dvořák G major Sonatina op 100, and with Watson Forbes (violist of the Stratton Quartet and Aeolian Quartet) in Mozart duos. He also premiered and recorded works by Arthur Benjamin, Benjamin Dale, Lennox Berkeley, Kenneth Leighton, Edmund Rubbra, York Bowen, Howard Ferguson, Arthur Bliss, Béla Bartók, Beethoven, Handel, Rachmaninoff and Smetana, often accompanied by Ivor Newton. He recorded all six Brandenburg Concertos with the Boyd Neel Orchestra, and made a broadcast of the Arnold Bax violin concerto from Australia. From 1963 to 1966 he taught at the Yehudi Menuhin School at Stoke D'Abernon, Surrey. He frequently sat on juries for international competitions. He retired from the Royal Academy of Music in 1978, where his students included John Georgiadis, and was appointed a CBE in 1979, but continued teaching until his death, which occurred in 1987. The National Portrait Gallery lists 8 portraits of Grinke in its collections.[ Grinke played an instrument by J. B. Rogerius of 1686, with aluminium-covered D and A, and silver-covered G and steel E strings, but also often played a Stradivarius dated 1718, lent by the Royal Academy of Music. He was married in 1942 to Dorothy Sirr Sheldon and had one son. He is buried in the churchyard of St Mary, Thornham Parva, Suffolk.
Theo Bruins Willem Pijper Beinum Ravel Debussy Mahler Toscanini Boulez Lark Leeuw Visser Johan Wagenaar Concertgebouw Orchestra 1456 1912 1916 1921 1931 1934 1937 1938 1940 1941 1943 1944 1945 1946 1947 1948 1955 1957 1958 1959 1960 1961 1964 1966 1967 1968 1969 1971 1977 1980
Rudolf Escher +••.••(...)) Arcana : suite for piano solo, Op. 9 (1944) 1. Preludio (Largo) - 00:00 2. Toccata (Presto) - 04:26 3. Ciaccona (Lento Con Grazia) - 08:48 4. Finale (Moderato Molto - Allegro Risoluto) - 14:56 Theo Bruins, piano dedicated to Luctor Ponse Rudolf Escher was a Dutch composer. From 1916 to 1921 he lived with his parents on Java, where his father worked as a geologist and mineralogist. Back in the Netherlands he studied the piano, the violin and harmony privately. At the Rotterdam Conservatory he studied the piano +••.••(...)) and composition (with Pijper, 1934--1937). Until 1940 he lived in Rotterdam, where most of his scores were destroyed during the bombing by the Germans in May of that year. During World War II Escher composed Musique pour l'esprit en deuil +••.••(...)), which was first performed in 1947 by the Concertgebouw Orchestra under van Beinum and which made him overnight the most important composer in the Netherlands. From 1945 until his death he lived in Amsterdam. After a short study at the Electronic Studio of the Delft Technical University he taught +••.••(...)) at the Amsterdam Conservatory. From 1964 to 1977 he taught theory of contemporary music at the University of Utrecht. The result of his teaching is to be found in many studies in the field of music theory and audiology. He was also a talented writer and painter, continuing to publish poetry in literary magazines until well into the 1950s. From 1945--1946 he wrote on music and art for the Groene Amsterdammer. Escher's music is lyrical, expressive and elegiac, with a great propulsive force, more French then German in its orientation (the main influences being Ravel, Debussy and Mahler). It is always basically tonal, and mostly cast in a strictly contrapuntal frame with chains of variations. Everything he wrote can be clearly discerned by the ear. In 1938 he wrote: 'The miracles of a piece of music will never be revealed, unless in a natural way, through sounding and hearing. That means sounding well and hearing well. The latter condition is a priori impossible if the former one cannot be fulfilled'. (Toscanini en Debussy). Apart from this technical aspect of composing, Escher discerned a psychic one: 'The technique of a composer is intimately related to his spiritual and intellectual self, his psyche'. This can be seen in his war compositions, such as Musique pour l'esprit en deuil, the Sonate concertante (1943) for cello and piano, Arcana (1944) for piano (originally called Arcana Musae Dona), and the first two movements of the Sonata for cello solo (1945; the third movement was completed in 1948). Each of these compositions is in a way an impressive 'document humain'. The works written immediately after 1945 do not reflect the war in the same way, but Escher's longing for peace is reflected in the 'Arcadian' choral works such as Songs of Love and Eternity (1955) and Ciel, air et vents (1957). As a theorist, Escher analysed many 20th-century scores from Debussy to Boulez, explaining the latter on the basis of Escher's own analysis of the former's music. As a composer, however, he preferred to remain true to the music of Debussy and Ravel without denying the technical implications of the music of the serialists, as in his Second Symphony (1958, revised in 1980), Wind Quintet (1967) and Monologue for flute solo (1969). In the early sixties Escher tried to extend his technique towards electronic music and serialism, but after several crises he was unable to find a technique which would allow him at the same time to remain true to his psyche. The results of this search are nevertheless interesting, and the brilliant Wind Quintet (1967) and Summer Rites at Noon for two orchestras (1971) are examples of Escher's technical and emotional powers. The sound of the Wind Quintet is dominated by the timbres of alto flute, oboe d'amore and bass clarinet. Only at the end is the alto flute replaced by a normal flute for a brilliant and exciting 'lark solo'. Here Escher combines Debussian intervallic manipulations with Boulezian structural formulae. Kernels of intervals grow into motifs and melodies through rhythmical development. The main structure consists of three movements (A1--B--A2), which are linked by two short bridges (Z1 and Z2). Each movement consists again of three segments (a--x--a), which results in six 'a' segments accelerating from Largo to Prestissimo, while at the same time the 'x' segments slow down from Moderato to Largo. The Prestissimo combines the flute's 'lark solo' with the other instruments playing Largo underneath. Escher received several prizes for his compositions, including the van der Leeuw Prize (1959) for Le tombeau de Ravel, the Visser-Neerlandia Prize (1961 and 1968) for Nostalgies and the Wind Quintet, the Willem Pijper prize (1966) for the Sonata concertante for cello and piano and the Johan Wagenaar prize for his total output.
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- cronología: Intérpretes (Norteamérica).
- Índices (por orden alfabético): L...