Rebecca Spencer Vídeos
cantante estadounidense
- Estados Unidos
- cantante, cantante de ópera, actor de teatro
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2024-05-13
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Steven Devine Wolfgang Amadeus Mozart Mandel Heller Jonathan Manson Manson Brooke Edwards Bentley Orchestra Age Enlightenment Royal Festival Hall 1756 1791 2020
MOZART: Piano Concerto No.23, K488, Last Movement In this film, Steven Devine directs the Orchestra of the Age of Enlightenment through this exuberant Concerto with the full flair and colour of a fortepiano. (Wait...what is a fortepiano? (http•••) Clarinets and flute give this concerto a warm, soft-edged glow and the finale is pure comic opera. This video is a recording of the final movement from No.23, to hear the full performance by the Orchestra of the Age of Enlightenment, please visit (http•••) Piano Concerto No.23 in A, K.488, Allegro assai by Wolfgang Amadeus Mozart +••.••(...)). Recorded from Southbank Centre's Royal Festival Hall, 2020. Solo Fortepiano: Steven Devine Orchestra Violin I: Margaret Faultless Alice Evans Rodolfo Richter Henry Tong Debbie Diamond Violin II: Kati Debretzeni Iona Davies Kinga Ujszaszi Claire Holden Daniel Edgar Viola: Max Mandel Martin Kelly Kate Heller Marina Ascherson Cello: Jonathan Manson Catherine Rimer Double Bass: Kate Brooke Carina Cosgrave Flute: Lisa Beznosiuk Clarinet: Katherine Spencer Sarah Thurlow Bassoon: Philip Turbett Sally Jackson Horn Gavin Edwards Martin Lawrence Nicholas Benz David Bentley View the concert programme: (http•••) We add new videos to YouTube every month - subscribe to our YouTube channel so you don't miss 'em! (http•••) Donate to the OAE: (http•••) Website: (http•••) Facebook: (http•••) Twitter: (http•••) Instagram: (http•••)
Charles Draper Spencer Dyke Tomlinson Patterson Brahms Yvonne Printemps Eulenburg Padding Schubert Kreisler 1401 1754 1926
MOZART: Clarinet Quintet in A major - (K. 581) Charles Draper (clarinet) Spencer Dyke Quartet: Spencer Dyke and Edwin Quaife (violins), Ernest Tomlinson (viola), B. Patterson Parker (‘cello) Released on National Gramophonic Society Records XX, YY, ZZ, AAA. Size: 12” Sides: 7; Speed: 80 rpm Manufactured by: Vocalion Matrices: NGS. 20, 21X / 22X, 23 / 24X, 25X / 26X, 28 Recording date: c. May to August 1926 Issue date: September 1926 Time Side - Title Record 0.05 No. 1 - Allegro XX 2:51 No. 2 - Allegro (concluded) XX 6:50 No. 3 - Larghetto YY 10:09 No. 4 - Larghetto (concluded) and Menuetto YY 14:01 No. 5 - Menuetto (concluded) ZZ 17:54 No. 6 - Allegretto con Variazioni ZZ 21:58 No. 7 - Allegretto con Variazioni (concluded) AAA The Gramophone, September 1926. National Gramophonic Society Notes Mozart. Clarinet Quintet in A major (K-V. No. 581) IT is difficult to imagine a more complete contrast than that afforded by a comparison of Mozart's A major with Brahms' B minor clarinet quintets. The happy, irresponsible feeling of the former is the very antithesis of the deeply thoughtful and profound tone of the latter work. As well compare Yvonne Printemps and Eleonora Duse! Such comparisons, however interesting, are not my present purpose; so, to Mozart's work without further ado. First Movement.-Allegro. Score (Eulenburg, 3s.): first side, page 3 to bottom of page 8. Second side, page 9 to page 18, end. The first subject of the quintet is pleasure to eye and ear in its lay-out, and its gradual descent through the scale. The clarinet entering, as it did in the Brahms, with an arpeggio, gives a little flourish of happy sound before the repetition of the first subject. The second subject is a most graceful tune for the first violin, chromatically treated immediately afterwards by the clarinet which imparts to it a tinge melancholy, soon, however, dispersed. Just before the double bar a reminiscence of the first subject appears in a coda-like manner. This section is now repeated. It must be confessed that the working out, which begins on side 2, is rather mechanical. After the semi-fugal passages near the start, the up-and-down arpeggi on clarinet and strings sound flat and barely escape the suspicion of padding. But interest returns with the recapitulation, in the course of which may be heard a delightful variant, for the clarinet, of the second subject. Notice also the beautiful rhythmic variety in the parts at the bottom of page 17. Second Movement.-Larghetto. Score: third side, page 19 to page 23, line 3, bar 1; fourth side, page 23, line 3, bar 2, to page 26, end. Third Movement.-Menuetto. Fourth side, page 27 to page 28,line 2. Fifth side, page 28, line 3 to end. Against a background of muted strings, as in Brahms again, the clarinet sings such tranquil phrases as Mozart, and Schubert, alone hold the secret of. A long duologue between clarinet and first violin, based on the second subject, forms the section of contrast. Jets of notes are tossed from one instrument to another, until the clarinet leads us back into the elysian fields of the first tune. This proceeds on its way just as before with the exception of some triplet passages near the close and a coda. There are two trios to the minuet, the first of which fulfils the true function of the trio-one of contrast-by giving us a rest from the voice of the clarinet. The latter takes his revenge by predominating in the second trio. The minuet is heard three times, an ordeal which its charm easily survives. Fourth Movement.-Allegretto con Variazioni. Sixth side. Score: page 34 to page 42, line 1, end. Seventh side, page 42, line 2, to end. The last movement, as in the case of the Brahms' work, is cast in the form of an air with variations. The perky little air is first elaborated by the clarinet (Variation 1), and then by the first violin with a triplet accompaniment (Variation 2). The third variation, in the minor key, is ingeniously contrived. After the sad wail of the violins the viola has a persistent sobbing figure to play, which is again heard at the end of the variation. This is not the grief of an adult, but of a child, whose toy has been broken! In case we have gone astray a bit, Mozart takes us by the hand again in the fourth variation; a clear reference to the theme with much chattering from the clarinet. An adagio and allegro (side 7) really forming variations 6 and 7 (but not so marked in the score) conclude the movement. (The following repeats are not observed: second half of air; second half of variations 1, 2, and 4.) The fine art of Charles Draper, Kreisler of clarinettists, together with the splendid support of the Spencer Dyke Quartet, make this recording a veritable treasure. The adagio from the DUET IN G FOR VIOLIN AND VIOLA by Mozart occupies the last (eighth) side. The tonal contrasts of the instruments are well exploited. The music is too clear to call for any analytical comment. N. P.
David Munrow Een Jacques Barbireau Pierre Attaingnant Jacotin Guillaume Heurteur Claudin Sermisy William Byrd Anthony Holborne Galliard Johann Heinrich Schmelzer Henry Purcell Antonio Vivaldi John Baston Cherry Georg Friedrich Händel Johann Sebastian Bach Greenwood Thomas Augustine Arne François Couperin Benjamin Britten Paul Hindemith Dickinson Turner Pugsley Lumsden Beek Simon Standage Sloan Oliver Brookes Christopher Hogwood Norma Burrowes James Bowman Martyn Hill Robert Lloyd Willan Early Music Consort London
1. English Dance (Anon. 13th Century) 2. Saltarello (Anon. 14th Century) 3. Een Vrolic Wesen (Jacques Barbireau) 4-7. Four chansons published by Pierre Attaingnant Yoyant souffrir (Jacotin) Troys jeunes bourgeoises (Guillaume le Heurteur) Allez soupirs (Claudin de Sermisy) Amour me voyant (Claudin de Sermisy) 8. Fantasy: The Leaves be green (William Byrd) 9-13. Five dances (Anthony Holborne) Sic Semper soleo Pavan Galliard The choice Muylinda 14. Sonata à 7 flauti (Johann Heinrich Schmelzer) 15. Fantasia: Three parts upon a Ground (Henry Purcell) 16-18. Concerto in A minor (Antonio Vivaldi) Allegro Largo Allegro 19-21. Concerto in D major (John Baston) Allegro Adagio Presto 22. 'O ruddier than the cherry' from *Acis and Galatea* (Georg Friedrich Händel) 23. 'Schafe können sicher weiden' from Cantata *Was mir behagt, ist nur muntre Jagd* BWV208 (Johann Sebastian Bach) 24. Sonatina from Cantata *Gottes Zeit ist die allerbeste Zeit* BWV106 (Johann Sebastian Bach) 25. 'Esurientes' from *Magnificat in E flat major (BWV243a) (Johann Sebastian Bach) 26. 'Under the Greenwood Tree' from *As You Like It* (Thomas Augustine Arne) 27-28. Two Musétes (François Couperin) Muséte de Choisi Muséte de Taerni 29. Scherzo (Benjamin Britten) 30. Trio from the Plöner Musiktag (Paul Hindemith) 31. The White Throated Warbler (Nigel Butterley) 32. Recorder Music (Peter Dickinson) The David Munrow Recorder Consort David Munrow John Turner David Pugsley Alan Lumsden Andrew van der Beek Members of The Early Music Consort of London Simon Standage, baroque violin Eleanor Sloan, baroque violin Oliver Brookes, rebec, bass viol, violone, baroque cello Jane Ryan, bass viol Elizabeth Page, bass viol, baroque treble recorder Robert Spencer, chitarrone James Tyler, lute, citole, renaissance tenor recorder Christopher Hogwood, organ, harpsichord David Corkhill, percussion Norma Burrowes, soprano James Bowman, counter tenor Martyn Hill, tenor Robert Lloyd, bass Recording Producer: John Willan Recording Engineer: Stuart Eltham
Antonio Vivaldi Iona Brown Ronald Thomas Christopher Hogwood Sir Neville Marriner Bremner 1973 1994
Provided to YouTube by Universal Music Group Vivaldi: 12 Concertos, Op. 3 "L'estro armonico" / Concerto No. 7 in F Major for 4 Violins, RV 567 - 3. Adagio - Allegro · Iona Brown · Roy Gillard · Carmel Kaine · Ronald Thomas · Christopher Hogwood · Colin Tilney · Robert Spencer · Academy of St Martin in the Fields · Sir Neville Marriner Vivaldi: L'Estro Armonico; 4 Concertos ℗ 1973 Decca Music Group Limited Released on: 1994-01-01 Producer: Michael Bremner Studio Personnel, Balance Engineer: Stanley Goodall Composer: Antonio Vivaldi Auto-generated by YouTube.
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