Richard Salter Vídeos
cantante de ópera
- barítono
- Reino Unido
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2024-05-13
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Charles Theodore Pachelbel Johann Pachelbel Rhode Salter 1690 1692 1695 1706 1720 1732 1733 1735 1736 1737 1739 1740 1749 1750 1769
Charles Theodore Pachelbel (baptized Carl Theodorus, also spelled Karl Theodor, on November 24, 1690; buried September 15, 1750) was a German composer, organist and harpsichordist of the late Baroque era. He was the son of the more famous Johann Pachelbel, composer of the popular Canon in D. He was one of the first European composers to take up residence in the American colonies, and was the most famous musical figure in early Charleston, South Carolina. Please support my channel: (http•••) Magnificat (c. 1720's written before his emigration to the colonies, unclear if in Germany or England) The Columbus Consort He was born in Stuttgart and baptized in the Evangelische Kirchengemeinde (Protestant parish) there on 24 November 1690, son of Johann Pachelbel and his second wife Judith Drommer. The family moved to Gotha in 1692, then to Nuremberg in 1695. Nothing is known about Charles Theodore's life for 25 years after 1706, when his father died, except the fact that he probably lived in England for some time (his name appears in a 1732 list of subscribers to a volume of harpsichord music published in London. The circumstances of his emigration to the colonies are unknown. Pachelbel was living in Boston, Massachusetts by spring 1733, when he was asked to assist in the installation of the new organ of Trinity Church in Newport, Rhode Island. The instrument was donated to Trinity by George Berkeley, the famous philosopher. Pachelbel was subsequently hired as organist of the church and held the post until approximately mid-1735. In 1736 Pachelbel gave two public concerts in New York: on 21 January and on 9 March. Both took place in Robert Todd's house, an important tavern. Pachelbel played the harpsichord, accompanied by local musicians and singers. Pachelbel soon left for Charleston, South Carolina, where he spent the rest of his life. On 16 February 1737 he married Hanna Poitevin in St. Philip's Church in Charleston. The couple had at least one child, Charles, born on 10 September 1739. This could have been Pachelbel's second marriage, because traces of an older daughter have been found. He actively participated in the musical life of the city: on 22 November 1737 he organized a concert of vocal and instrumental music, apparently the first public concert in the Charleston area; in February 1740 he succeeded John Salter as organist of St. Philip's Church; and in 1749, one year before he died, he opened a singing school. Pachelbel's death in 1750 was apparently caused by some sort of illness, referred to as a "lameness in the hands" in the documents. His wife outlived him by 19 years and died on 6 September 1769. There is no further record of Pachelbel's children.
Pyotr Ilyich Tchaikovsky Norbert Salter Salter Mahler Schulz Leonard Rose Gregor Piatigorsky Pablo Casals Herbert Karajan Pierre Monteux Virgil Thomson Lutoslawski Henze Ginastera Hopkins Butler Emanuel Feuermann Bach Beethoven Brahms Philadelphia Orchestra Detroit Symphony Orchestra Kodály 1847 1865 1868 1871 1875 1876 1887 1897 1910 1926 1935 1944 1948 1950 1952 1953 1955 1963 1968 1974 1987 1989 1990 1992 2013
Four works by Pyotr Ilyich Tchaikovsky (http•••) 0:01 Sérénade mélancolique, Op. 26 (1875) – originally for violin & orchestra – transcr. cello/piano [1897, out of print] by Norbert Salter +••.••(...)) (http•••) (http•••) 6:20 Andante cantabile, Op. 11 (1871) – 2nd movement from String Quartet No. 1 – transcr. cello/piano [1910] by Leo Schulz +••.••(...)http•••) Based on a folk song (likely the Song of the Volga Boatmen) whistled by a house painter. More info: (http•••) Music: Full score - (http•••) Cello part - (http•••) 12:14 Pezzo Capriccioso, Op. 62 (1887) – originally for cello & orchestra – transcr. cello/piano by the composer (http•••) Music: (http•••) 18:47 Variations on a Rococo Theme, Op. 33 +••.••(...)) – originally for cello & orchestra (http•••) Music: (http•••) Note: For this performance, the 1952 International Edition (edited by Leonard Rose) was used. / University of Texas at Austin Music Faculty Recital Paul Olefsky +••.••(...)), cello (see bio below) Arthur Houle (b. 1955), piano (http•••) February 23, 1992 / • Olefsky bio, mainly adapted from Strad, 6/1/13: (http•••) Born in Chicago, Paul Olefsky +••.••(...)) earned a bachelors degree from the Curtis Institute of Music, where he studied with Gregor Piatigorsky and subsequently with Pablo Casals. He studied conducting with Herbert von Karajan and Pierre Monteux. During the 1940s, Olefsky performed as principal cellist of the Philadelphia Orchestra while maintaining a worldwide career as a soloist. In 1948 he was a winner of the Naumburg Competition in New York City. In 1950, he performed the world premiere of the Cello Concerto by Virgil Thomson. Olefsky left his position in Philadelphia in 1950 to join the United States Navy. In 1953, during his Navy service, he won the Michaels Memorial Award competition in Chicago. After completing his naval service, Olefsky was offered the position of first cellist in the Detroit Symphony Orchestra, where he spent six years, though he continued to perform as a soloist. He joined the faculty of the University of Iowa but left after just 18 months to extend his solo engagements: he gave the first US performances of works by Kodály, Lutoslawski, Henze and Ginastera. In succession, Olefsky taught at the Peabody Institute (1963–68) and Hartt School (1968–74) before joining the University of Texas at Austin in 1974. He remained there for the rest of his career, where his students included Louis Lowenstein, John Sant’Ambrogio, Carolyn Hopkins, Stephen Gates and Hai Zheng. He later earned the title of emeritus professor at the Butler School of Music. Another former student, Gregory McCoy, established the Paul Olefsky Cello Scholarship at the Butler School. In 1987 Olefsky organized the first Feuermann International Cello Competition at U.T.-Austin. "Although I had enormous respect for Piatigorsky, it was Emanuel Feuermann who was my idol," he said in 1989. "His mystique has haunted me all my life. I never forget his maxim: 'the complete cellist must be a perfect blend of head, heart and fingers.' I had only one lesson with Feuermann but its shattering impact is always with me." Commenting on teaching cello, Olefsky said: "A true pedagogue should strive for quality teaching with fewer pupils. There are only so many hours in a day, and...a [teacher]...should resist the temptation of over-extending himself whether it be for money or reputation engagement. It is the obligation of the teacher to make the student independent of the teacher as soon as possible." From 1990 to 1992, Olefsky and Houle were colleagues at U.T.-Austin and performed in concert on numerous occasions. During that time, they presented, in conjunction with their students, the complete cello/keyboard works of Bach, Beethoven and Brahms in two consecutive semesters (each person performing one or more movements in recital). Olefsky was married to renowned cellist Hai Zheng ((http•••) and had a daughter and a son. He died in 2013 in Austin, Texas, at the age of 87. • More on Olefsky: (http•••)
Wallis Salter Jessica Walker Keel Keel Watson 2016
Today’s proceedings focus on the presentation of a short operatic performance by opera company Tête à Tête. mynewopera is your new opera. Subscribe here: www.myopera.com/signup / The Hive Music - Harvey Brough | Words – Carole Hayman Company Credits Director - Bill Bankes-Jones Music Director - Harvey Brough Executive Producer - Carole Hayman Associate Producer - Chris Wallis Design - Jamie Simmons Technical Stage Manager - David Salter Image and Trailer Video - Josh Pulman Cast Credits Singers Tenor - Christopher Diffey Soprano - Turiya Haudenhuyse Performer - Carole Hayman Recorded Voices - Clara Sanabras Mezzo - Jessica Walker Baritone - Keel Watson Voice of Judge - Bill Bankes-Jones ————————— ‘My New Opera’ is at Website | www.mynewopera.com Facebook | www.facebook.com/mynewopera Twitter | @MyNewOpera Instagram | www.instagram.com/mynewopera
Tomaso Antonio Vitali Pietro Nardini Giuseppe Tartini Eduard Melkus Schulz Salter Mendelssohn Bach Schumann Gluck Ferdinand David Spohr 1663 1692 1722 1745 1770 1793 1810 1867 1872 1873
atribuido a Tomaso Antonio Vitali +••.••(...)) 00:00 Chacona en Sol menor para violín & continuo Giuseppe Tartini +••.••(...)) 11:30 Tema y 30 variaciones de ¨L´Arte dell´arco¨ 26:05 ¨El trino del diablo¨ Sonata en Sol menor para violín & continuo: Larghetto affettuoso - Tempo giusto della Scuola Tartinista - Andante, Allegro assai Pietro Nardini +••.••(...)) 38:36 Sonata en Re mayor para violín & continuo: Adagio - Allegro - Allegro Eduard Melkus, violin / Walter Schulz, cello / Alfred Planyavsky, contrabass Karl Scheit, lute / Lionel Salter, organ, harpsichord & piano The compositions of virtuoso violin music, which have been recorded for this disc, represent the best known of their type. They have continued to be an integral part of virtually all violin repertoires down to this day, and we can still hear the great soloists of our day play them in the concert hall. However, none of these compositions have come down to us in their original form. As most baroque compositions, they were subjugated to the stylistic changes inaugurated by the classical period, which meant that in their original form they could only be found among collected works or in the form of copies in the possession of individual music lovers, and it was not until the important movement of rediscovering the “old music”, which took place in the romantic period, that musicians especially interested in these compositions began to revive them. Naturally, they were altered to suit the tastes of the time. The solo texts were changed, shortened or lengthened, or movements from other compositions were added or simply exchanged for older ones. The harpsichord was replaced by the piano, thus introducing a totally different character of sound and new dynamic possibilities. The accompaniment -originally indicated as a figured bass only- was now eliminated completely and pianistically polished up while the simple original harmonies were often made “more interesting” in the romantic sense by means of chromatic passages or a bass lead. Nonetheless, the compositions became truly popular again, which in all probability would not have been the case had they been re-introduced in their original form as we prefer to hear them today, and we are, therefore, highly indebted to those who made these interpretative alterations. Mozart’s rendition of the Messiah, Mendelssohn’s Bach renditions, Schumann’s piano accompaniments to the Bach solo sonatas, Wagner’s concert finale for Gluck’s Iphigenia overture and many more examples were altered in the same spirit, i. e., the attempt to adapt older master pieces to the current tastes and forms in order to uphold an interest for these compositions and to maintain their popularity. Although we think differently in our century and prefer the composition in its original form, we can hardly be accused of fossilized history. On the contrary, we are imbued with the same passionate love for music that moved musicians in the last century. It is simply that we today believe that a composition has its greatest effect in its original form. And even if we cannot achieve absolute authenticity today because of diverse reasons as far as the performance of older music is concerned, we still feel bound to strive for the best reconstruction of the original sound possible. It is possible to come to terms with great musical compositions -to understand the essence of the music- by trying to comprehend the spiritual motivation of a given composition and the Zeitgeist in which it was written; by discerning the typical stylistic characteristics of a particular grouping of compositions, and by grasping expression and sound as they differ from the present day music to which we are accustomed. Above and beyond this, however, it is also possible to perform many popular master pieces with a new, contemporary impulse and to prevent them from slowly evanescing into the forgotten by employing a new interpretative style based on historical development. It is in such a spirit that we have undertaken to present the four compositions on this recording, which became popular again in the 19th century thanks to the adaptations of Ferdinand David +••.••(...)). In fact, they gained a greater popularity than they had originally enjoyed. David, a pupil of Spohr’s at an excellent violin school, was inspired by Mendelssohn’s work in Leipsic to adapt a whole series of older violin compositions, which he then published in his “Hohe Schule des Violinspiels” +••.••(...)) and in other editions. Vitali’s Chaconne and the Sonata in D major by Nardini are included in the “Hohe Schule des Violinspiels”; both the Tartini compositions were treated later by David.
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- cronología: Cantantes líricos (Europa).
- Índices (por orden alfabético): S...