Robert Plane Vídeos
músico británico
- clarinete
- Reino Unido
- clarinetista
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2024-05-25
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Gerald Finzi Robert Plane Griffiths Northern Sinfonia 1933 1949
Gerald Finzi - Clarinet Concerto in C Minor, Op. 31 (1949) Performed by Robert Plane with the Northern Sinfonia Conducted by Howard Griffiths Movement One: Allegro vigoroso - 0:00 Movement Two: Adagio ma senza rigore - 7:52 Movement Three: Rondo. Allegro giocoso - 19:33 Source of Audio - (http•••)
Edith Picht Axenfeld Bach Parry Henry Purcell Charles Dieupart Schweitzer Reeves Fairchild Dam 1951
Edith Picht-Axenfeld (harpsichord) The English Suites No. 1 in A Major (BWV 806) and No. 2 in a minor (BWV 807) J.S. Bach Released 1951 on the Mercury Classics label MG10091, mono recording BACH'S SIX English Suites constitute his largest keyboard works in suite form. "They certainly represent his highest pitch of mastery," writes Parry. "The immense scope of all the preludes ... and the wide range of resource which they display, the weight, variety, and unvarying high level of material of the allemandes and courantes, the supreme dignity, pathos, and warmth of color and expression of the sarabandes, the sparkling vivacity of the bourrees and the gavottes, and the superb texture of the gigues combine to make this series of suites stand entirely alone as representing the very highest examples of the type in existence. The two last French suites have a special charm and lightness, and admirable consistency of style; but the whole series does not give the impression of uniform high quality, certainty of resource, and nobility of expression which is given by the so-called 'English Suites.' " Where they acquired the name of "English Suites" is not known. Parry conjectures that Bach may have been familiar with the suites of Henry Purcell, which were fine examples of the form. He may also have been conscious of the fact that the English were the first to develop the suite. But the English Suites were never published during Bach's lifetime, and the title was, in all probability, derived from the words, "fait pour les Anglais," written above the Prelude to the Suite No.1 in A Major in the mamiscript copy in the possession of Bach's youngest son, Johann Christian. This inscription led to the belief that the suites were written for an English nobleman, but there is no evidence to support this claim. It so happens, however, that the aforementioned Prelude is based on a gigue in a suite by Charles Dieupart, a contemporary of Bach and a prominent teacher and composer in England. It is most likely, therefore, that the words, "fait pour les Anglais," applied only to this one movement and not to the suites in general. The origin of the title of the French Suites, it might be noted, is equally obscure, the only reason advanced being that they are of a compact and dainty character akin to examples of French art. The English Suites were probably composed, together with most of Bach's other instrumental works, in Cothen, though they may have been completed during his Leipzig period. At any rate, they came after the slighter French Suites, and perhaps some of them even saw the light of day after the six Partitas. Schweitzer declares that in the English Suites, Bach "raises the suite· form to the plane of the highest art, while at the same time he preserves its primitive character as a collection of dance-pieces." It is true that he ad· heres rather closely to the basic structure of the suite, but there are a few exceptions which are worth noting. The Prelude in the Suite No.1 in A Major was founded on a gigue by Dieupart, and is considerably shorter than any of the five other opening movements. In place of the customary single Courante, there are two in this suite, and .the second is augmented by two doubles-the double, as its name implies, being a simple form of variation on the original dance, with embel· lishments usually in double time. Another form of variation is found in the Sarabande in the Suite No.2 in A Minor. Here the Sarabande proper is followed by a more elaborate variation, marked Les Agrements de la meme Sarabande. Agrements are simple musical ornaments. It is the custom to substitute the corresponding section of agrements for a repeat in each section of the Sarabande, thus lend· ing more variety to the music. The Gigue in this suite is of the Italian wiriet'y .. being less contrapuntal in treatment. In addition, after the customary reo peats of each section, the entire Gigue is played through from beginning to end without repetition. NOTES BY PAUL AFFELDER This MERCURY LONG PLAYING recording was made possible through the use of the REEVES·FAIRCHILD MARGIN CONTROL process-a technique whereby it has become possible for Mercury to produce for the record-buying public a disc of truly superior quality, especially with respect to brilliance, clarity, dynamic range and reliable stylus tracking. This record can be played on any 331/3 r.p.m. turntable equipped with micro· groove pick-up, as long as pick.lIp playing stylus is not WORN or DAM· AGED. It is recommended that sapphire or metal styli be checked for reo placement at least every SIX MONTHS. #EdithPichtAxenfeld
Sofia Gubaidulina Molinari Messiaen Shostakovich Natalia Gutman Oleg Kagan Heed 1705 1722 1931 1981 1988
Rejoice! sonata for violin and cello (1981) [Радуйся! (Raduysya!)] [Freue dich!] Composer: Sofia Gubaidulina (b. 1931) Performers: Frédéric Bednarz, violin; Pierre-Alain Bouvrette, cello (from Quatuor Molinari) I - Your joy no man taketh from you: 0:00 II - Rejoice with them that do rejoice: 2:49 III - Rejoice, Rabbi: 7:28 IV - And he returned into his house: 17:05 V - Listen to the still small voice within: 22:46 / "The background to Sofia Gubaidulina's Rejoice!, as Laurel Fay's sleeve-note informs us, is in the spiritual lessons of Grigory Skovoroda, an eighteenth-century Ukrainian philosopher and religious thinker. These supply the sub-titles (rather Messiaen-like in resonance) of each of the five movements. The composer herself cautions, ''It should not be assumed that I wanted to illustrate the theme of joy in my music… the religious theme is experienced metaphorically''. It is meant to be experienced musically as well, through the juxtaposition of 'normal' sounds and harmonics: 'The possibility for string instruments to derive pitches of various heights at one and the same place on the string can be experienced in music as the transition to another plane of existence. And that is joy.' " Source: (http•••) "The title of the substantial sonata for violin and cello, Rejoice! (also known as Raduysya! and Freue dich!), ought not be taken literally, the music less expression of outward joy than metaphoric contemplation upon its stated theme. Composed in 1981 and premiered in 1988 by its dedicatees, Natalia Gutman and Oleg Kagan, at Kuhmo in Finland, each of the work’s five movements takes its title from an aphorism by the Ukrainian religious philosopher Hryhorii Skovoroda +••.••(...)) who embraced the simple life and sympathized with the underprivileged. 'Your joy no one will take away from you' (I) opens with the solo violin meditating upon a handful of high notes that alternate with harmonics. The cello then rises up from its depths, eventually matching its partner with a harmonic of its own. The two don mutes in 'Rejoice with joy' (II), whose chromatic, humming figures suggest a pair of insects buzzing around one another. In 'Rejoice, Rabbi' (III), the solo cello’s grinding low clusters, flailing tremolos, harmonic double stops and pizzicato chords establish wild contrast in technique and mood as the movement’s organizing principle. A frenzied violin cadenza collapses into a magical moment — perhaps the work’s heart — in which ethereal double-stop harmonics sing like a distant choir of heavenly voices. The ponderous 'And he returned to his own abode' (IV) traces a gradual descent from the stratosphere of pitch where glacial tones in the violin combine with wind-like whistling in cello harmonics. 'Heed thyself' (V) offers by far the most overtly joyful music in the sonata, a rhythmically-precise, energetic figure in the violin playing out over a drawn-out chant in the cello. Earthly joy in the form of giddiness thus makes an appearance — but has not the last word: a coda steers us back into a world of introspection, the 'still small voice within' surely finding expression in the concluding soft chord in harmonics." ~Robert Rival Source: CD booklet / For education, promotion and entertainment purposes only. If you have any copyrights issue, please write to unpetitabreuvoir(at)gmail.com and I will delete this video.
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