Milvi Laid Vídeos
cantante de ópera estonia
- soprano
- Estonia
- cantante de ópera
Última actualización
2024-05-11
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Delsarte Fogg Witt George Berg Berg Signac Pellet Rothschild Hofer Krasner Pollock Straus 1653 1754 1894 1945 1969 1995 2007 2011 2018 2020 2021
Join curator Elizabeth Rudy for a preview of the upcoming exhibition, “States of Play: Prints from Rembrandt to Picasso,” to open at the Harvard Art Museums in September 2021. Joined in conversation with print curator and scholar Jerry Cohn, they will take an informative look at the iterative nature of printmaking as they explore the variable meaning of a “print state” from the 17th-21st centuries. Multiple states, or versions, of individual prints illuminate the artists’ creative processes and even the lives of prints beyond those of their creators. Director Martha Tedeschi, herself a former curator of prints and drawings at the Art Institute of Chicago, offers welcoming remarks. TAKE A CLOSER LOOK: + Take a virtual tour of "States of Play:" (http•••) + Exhibition—”States of Play: Prints from Rembrandt to Delsarte”: (http•••) + Giuseppe Longhi, Italian, “Bonaparte Crossing the Alps,” 19th century. Etching on off-white laid paper. Harvard Art Museums/Fogg Museum, Gift of Belinda L. Randall from the collection of John Witt Randall, R1148NA: (http•••) + Marco Alvise Pitteri, Italian, “Carlo Goldoni,” 1754. Engraving on off-white antique laid paper. Harvard Art Museums/Fogg Museum, Henry George Berg Bequest Fund, Gift in gratitude to John Coolidge, M21453: (http•••) + Paul Signac, printed by Auguste Clot, edited by Gustave Pellet, French, “La Bouée (Port of St. Tropez),” 1894. Color lithograph on off-white wove paper, annotated by Signac. Harvard Art Museums/Fogg Museum, Gift of Robert and Margaret Rothschild, 2011.509: (http•••) + Rembrandt Harmensz. van Rijn, Dutch, “Christ Crucified between the Two Thieves,” 1653. Drypoint on off-white antique laid paper. Harvard Art Museums/Fogg Museum, Gift of Mr. and Mrs. Philip Hofer, M12864: (http•••) + Louis Delsarte, American, “Unity (mylar/separation 1),” 1995. Ink on mylar. Harvard Art Museums/Fogg Museum, Gift of Brandywine Workshop and Archives, Philadelphia, Pennsylvania, 2018.33.6.1. Estate of Louis Delsarte: (http•••) + Lee Krasner, American, “Long Lines for Lee Krasner,” 1969. Portfolio of 9 lithographs on white wove paper. Harvard Art Museums/Fogg Museum, Walter A. Compton, Jr., Bequest Fund, M24398-M24400. Pollock-Krasner Foundation / Artists Rights Society (ARS), NY. (http•••) + André Racz, American, “Perseus beheading Medusa IV,” 1945. Softground etching, engraving, and aquatint with gauffrage on white, wove paper. Harvard Art Museums/Fogg Museum, Bequest of William S. Lieberman, 2007.67. 1945 Estate of Andre Racz. (http•••) / Speakers: + Elizabeth Rudy, Carl A. Weyerhaeuser Associate Curator of Prints; + Marjorie (Jerry) Cohn, Carl A. Weyerhaeuser Curator of Prints, Emerita. In a long career at the Harvard Art Museums, she was also director of the Center for Conservation and Technical Studies (now the Straus Center), and twice served as acting director of the museums; + Martha Tedeschi, Elizabeth and John Moors Cabot Director of the Harvard Art Museums. This conversation was made possible by our generous supporters; an international community of art lovers who generously support the Harvard Art Museums’ mission to promote knowledge about and appreciation of art through exhibitions, teaching, research, professional training, and public education. Learn more (http•••) Recorded October 7, 2020. President and Fellows of Harvard College. For questions related to permission for commercial use of this video, please contact the Department of Digital Imaging and Visual Resources at •••@•••.
Bach Pachelbel Buxtehude Krebs
#baroquemusic #baroquecomposer #choralevariation Out of the Depths, I cry to Thee. (English Translation) This hymn was originally written by Martin Luther, most likely when he was grounded in the Wartburg castle in Germany during his reformation (speculation on my part; I know little of Luther's life or music). Many of his hymns came down to J.S. Bach, who would immortalize them through his various cantatas and organ works. Other organists and composers would do the same; Pachelbel, Buxtehude, Krebs (both of them) and many more would write chorale preludes and partitas. In this recent work, I attempted to combine both Renaissance sound with Baroque handling. This might be a motet or partita, but I'm not certain. The instrumentation is completely open for interpretation, and the only thing important is that all the voices are heard. The challenge was staying somewhat true to Bach's harmonies laid out in the final chorale of cantata 38. Bach's massive arrangement of this tune for organ (BWV 686) utilizes double-pedal technique, and I tried to emulate that idea. This piece has five movements: Chorale Allegro (variation) Gigue Fugue Chorale Also, I've color-coded the subject so it is easier to follow through the course of the piece. I hope you enjoy! The score may be purchased in full, here: (http•••) To custom order music, visit my page on Fiverr.com: (http•••) To support me and my craft, consider becoming a patron: (http•••)
Alexander Glazunov Tadaaki Otaka Otaka Stravinsky Russo Rimsky Korsakov Bbc National Orchestra Wales 1899 1905 1906 1917 1930 2009
BBC National Orchestra of Wales conducted by Tadaaki Otaka. I - Allegro moderato - Poco più mosso - Più mosso, agitato - Poco meno mosso - Animando - Più pesante - Poco meno mosso - Poco più mosso - Meno mosso, Tranquillo - Più mosso: 0:00 II - Mesto - Con moto - Tempo I - Agitato poco - Largamente - Agitato - Con moto - Poco più mosso - Poco meno mosso - Tranquillo: 10:19 III - Scherzo. Allegro - Più tranquillo - Poco meno mosso - Tranquillo - Più animato - Con moto - Feroce - Tempo I - Poco più tranquillo - Più mosso - Feroce - Più mosso - Presto: 20:56 IV - Finale. Moderato sostenuto - Con moto - Allegro moderato - Poco meno mosso - Moderato sostenuto - Allegro moderato - Poco meno mosso - Animando - Più mosso - Poco più sostenuto - Animato - Poco meno mosso - Animando ed agitato - Moderato maestoso - Animando - Poco più mosso: 27:54 Glazunov's Symphony No.8 was composed between July 18 and October 30 of 1905. It was premiered in St Petersburg in December 22 of 1906, conducted by the own composer. The piece was very well received, many considering it his best work in the genre. It inspired Stravinsky to write his own Symphony in E flat. 1905 was a very turbulent year for Glazunov and Russia in general. The humiliating defeat in the Russo-Japanese war of that year begun a widespread revolution. As the Russian state attempted to industrialize and modernize itself, most of the population (farmers, students, industrial workers, etc) demanded more rights and social changes in an absolute monarchy as it was the Russian tsardom. The failure of Tsar Nicholas II to properly solve the crisis would set the stage for the 1917 revolution and the triumph of the communists. The St. Peterburg Conservatory, in which Glazunov was a teacher since 1899, was affected by these revolts as well. Many students and teachers demanded freedom of expression and the end of the state inreventions in the Conservatory, many of these students were prosecuted and expelled. Glazunov resigned as a sign of solidarity after his compatriot Rimsky-Korsakov had been expelled, for siding with the students. Shortly after Glazunov became the new director and remained until 1930, what was one of the most agitated and violent periods in Russian history. The first movement is structured in sonata form. It begins with a majestic but nostalgic main theme, full of romantic grandeur. It is contrasted by a calmer second theme presented by the oboe, which grows in a passionate climax. The development combines these materials contrapuntally, culminating in a rich and dramatic fugato before it continues with increasing dramatism. The recapitulation brings back the main themes in a varied way, rising in a grand climax. A low-key, subdued coda ends the movement. The second movement is structured in ternary form. It opens with a dark and tragic main theme, derived from the main theme of the previous movement. It unfolds with an almost funereal expression, rising in a solemn climax. The middle section begins with a hopeful second theme of pastoral character, presented by the flute, followed by clarinet and horn. The main theme is then recapitulated, but there is no redemption nor positive outcome. A desparing coda ends the movement. The third movement is a weird kind of scherzo: without a trio and in rondo form (A-B-C-A'-B'-C'-Coda). It begins with a nervous but playful main theme, it is followed by a more melodic and charming second theme on woodwinds, in counterpoint with faster motives. A more dissonant and agitated third theme appears on strings and brass, before the main theme of the scherzo is recapitulated, followed by the rest of them. A boisterous coda brings the movement to an end. The fourth movement is structured in sonata form. It opens with a slow introduction, in which the brasses present a solemn Russian chorale. A vigorously rhythmic main theme is presented through a dense fugue. It is derived from the main theme of the first movement as well. It is contrasted by a lyrical second theme presented by the clarinet, exhuberantly unfolded. The opening chorale reappears, beginning the development section, which is surprisingly mostly calm and laid back. Music suddenly accelerates in a massive climax, followed by the recapitulation of the themes. A triumphant coda ends the whole work. Picture: "Ancient Rostov the Great" (2009) by the Russian painter Ilya Glazunov. Musical analysis mostly written by myself. Sources: (http•••) (http•••) and (http•••) To check the score: (http•••)
Jean Françaix Morrison 1236 1441 1948 1956 1976
00:00 - I. Andante tranquillo (to Allegro assai) 04:19 - II. Presto 08:17 - IIIa. Thema: Andante 09:19 - IIIb. Variation 1: L'istesso Tempo 10:06 - IIIc. Variation 2: Andantino con moto 11:29 - IIId. Variation 3: Lento 12:36 - IIIe. Variation 4: Vivo 13:08 - IIIf. Variation 5: Andante 14:41 - IV. Tempo di marcia francese / Ensemble: ORTF Wind Quintet (dedicatees) Bassoon: Renè Plessier Clarinet: Maurice Cliquenois Flute: Bernard Dufresne Horn: Louis Courtinet Oboe: Jules Goetgheluck Year of Recording: ~1956 / "Nearly 40 years separate Jean Françaix's two Quintets for wind instruments. The earlier of the two dates from 1948, when Louis Courtinat, French horn player with the Orchestre National de la Radiodiffusion Française, asked Françaix for a quintet for his colleagues. As the composer later related, the work was to be "very demanding, permitting the five players to display their virtuosity to the fullest!" Françaix continued, "Even though I am, by nature, a peaceable sort of person, I did my best to be nasty. And I seem to have succeeded, for these gentlemen had to closet themselves for six months in order to get through it." The Quintet proved to be a hit, "achieving a success beyond my wildest dreams." The first movement opens with a laid-back, not-quite-serious slow introduction. When the music speeds to Allegro assai, it is with a light-hearted tune suggestive of the music hall, surrounded by decorative arpeggios. The genial Presto second movement acts as a scherzo, and the slow third movement is a set of variations on a lyrical melody. The final movement is marked Tempo di Marcia Francese; the jolly march melody leads into a contrapuntal central section. Françaix concludes the work with a quiet and humorous coda." (Chris Morrison) / Note: There are significant differences between the score and recording in the Allegro of the first movement; perhaps revisions later made by the composer. / COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
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- cronología: Cantantes líricos (Europa).
- Índices (por orden alfabético): L...