Philip Glass How Now Vídeos
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Elizabeth Harwood Kathleen Ferrier Lina Pagliughi Rossini Joan Sutherland Richard Strauss Scottish Opera Covent Garden Scala 1912 1916 1918 1933 1935 1938 1960 1961 1967 1969 1970 1971 1972 1975 1982 1990
~The "Glass Shatterers!" series focuses on sopranos who sustain High F, or sing higher. THE SONGBIRD: Elizabeth Harwood +••.••(...)) was raised in Yorkshire by musical parents / her mother was a professional soprano, Constance Read, and gave Harwood voice lessons. Harwood studied at the Royal Manchester College of Music and at the age of 21, she won the Kathleen Ferrier Memorial Scholarship and spent a year in Milan studying with Lina Pagliughi. Her professional debut came as Second Boy in "The Magic Flute" at Glyndebourne in 1960. She became a member of the Sadler's Wells company in 1961 where she sang Manon, Gilda, Rossini's Adele, Konstanze, Countess Rosina, Fiakermilli, and Zerbinetta. After a tour of Australia with Joan Sutherland's company in 1967, Harwood's regular appearances at the Scottish Opera began with Fiordiligi and continued with Sophie, Lucia, Rosalinde, and Eva (her only Wagner role). At Covent Garden in the 1960s and 1970s she sang Fiakermilli, Gilda, Oscar, Donna Elvira, Norina, Arabella, and Manon. For Glyndebourne, she was Fiordiligi, Countess Rosina, and, in 1982, the Marschallin. Appearances abroad included Aix-en-Provence (Donna Elvira in 1967, Galatea in 1969); Salzburg (Konstanze and Fiordiligi in 1970, Countess Rosina in 1972); The Met (Fiordiligi in 1975); and La Scala (Konstanze in 1971). Harwood died of cancer at age 52. This recording of the original 1912 version of Zerbinetta's aria from the BBC, with Norman Del Mar conducting, only exists in poor audio. I have long searched for a better quality file, and even had a contact who works in the audio archives of the BBC search for it there, but to no avail / so for now, this is the best we have. THE MUSIC: Richard Strauss's opera "Ariadne auf Naxos" premiered twice. The first was in 1912 in Stuttgart where it was conceived as a short opera to accompany a new adaption of Moliere's play, "Le Bourgeois gentilhomme." This version was performed in other cities over the next year (Zurich, Munich, Prague, and London), but the play/opera hybrid concept proved ineffective (and way too long at over six hours). Working with his librettist/partner Hugo von Hofmannsthal, Strauss refashioned the opera as a stand-alone work with a newly added prologue, which premiered in this new form to success in Vienna in 1916. This version of the opera was quickly embraced by critics, artists, and the public / it has since been recorded commercially many times and is performed regularly around the world. Only rarely have there been staged or even concert productions of the earlier 1912 version of the opera and there is only one commercial recording. One of the changes Strauss made for the 1916 score was to lower the key and cut or alter about four minutes of music from Zerbinetta's grand aria "Grossmächtige Prinzessin." (In this video, I have roughly marked the three sections of deleted or altered music). Both versions are insane, but this original version is incomprehensibly difficult at nearly 15 minutes in length and with a gruelingly high tessitura, including two High F-sharps. In either version, the scene demands a level of virtuosic musicianship and theatrical flair that is simply unmatched. Zerbinetta is a coloratura soubrette on steroids! In this scene and role, Strauss invented an entirely new musical language to exploit the unique glories of the coloratura soprano voice. He revisited this proprietary mode of highly gymnastic vocalism a few other times afterwards: in the art song "Amor" (1918), with Fiakermilli in "Arabella" (1933), and for Aminta in "Die schweigsame Frau" (1935).
Redwood Symphony Philip Glass Hernandez Selmer Lacey Cortez 1210 1995 2021
Here's our incendiary performance of Philip Glass' Concerto for Saxophone Quartet, from our November 20 streamed concert, with the wonderful Zēlos Quartet. This is a gorgeous, propulsive work with some real, singable tunes you'll love. Apologies for the choppy video, but the sound is absolute first-rate! / Zēlos Quartet on YouTube: (http•••) / Redwood Symphony | Eric K, conductor feat. Zēlos Quartet (Michael Hernandez, Johnny Selmer, Robin Lacey, David Cortez) Philip Glass - Concerto for Saxophone Quartet and Orchestra (1995) (00:00) I (06:32) II (12:10) III (22:03) IV Performed at Cañada College, Redwood City, CA November 20, 2021 Post-production: Michael Luxton / Now in our 37th season, Redwood Symphony’s continuing mission is to enrich our community with great music at affordable prices. Your support will be instrumental in allowing us to continue sharing the transformative power of live music performance with our community. We are a non-profit organization and contributions are tax-deductible. Please consider donating to Redwood Symphony by visiting: (http•••) Don't miss our next concert on 2/12/22!
Ludvig Schytte Niels Gade Edmund Neupert Franz Liszt 1631 1848 1884 1886 1898 1903 1907 1909
0:00 (The lighter). There came a soldier marching along the Road. one two, one two!. He had his torso on his back and a saber on his side. 1:26 (The little Klaus and the big Klaus). Hussa! Where little Claus slammed with his whip over all 5 horses, they were how basically his on that day. Hussa, all my horses! 3:19 (The flowers of little Ida). "My poor flowers are withered!", said little Ida. "They were so nice yesterday evening, now all flowers are hanging, completely withered! Why?" 5:11 (The naughty boy). There was an old poet, like, a good and old poet. Some evening he sat in his home, there was a terrible storm outside; the rain was falling heavily, but the poet sat there, warm and nice at his oven, where the fire was burning and the apples sizzled. 7:10 (The ugly young little duck). It was beautiful on the land. Summer, corn was yellow, hay was stacked up in the barn down there, and the stork was walking with his long red legs and babbled egyptian, because he learnt this language from his mother. 8:18 (The leprechaun and the huckster). There was a real student, living in the attic,and he owned nothing. But there was also once upon a time a real huckster, who lived on the ground and he owned the whole house. 9:20 (little mermaid). Far away in the sea, the water is so blue, as the leaves of the most beautiful cornflower, and so clear, as the purest glass, but very deep. The people of the sea live there. 11:59 (Lilac mother). The little boy looked at the tea pot, the lid lifted more and more, and the lilac flowers appeared, fresh, and white. 14:24 (The old street lamp). It was the last evening where she sat on the pale and lighted the street. She felt like an old dancer, who dances the last evening and knows that she will sit on the floor chamber on the next day, forgotten. / 16:31 (The Jumper). The flea, the grasshopper and the springbock wanted to see who can jump highest. They invited everyone who wanted to come and see their glory. Schytte +••.••(...)) was a Danish composer, pianist, and teacher. Born in Aarhus, Denmark, Schytte studied with Niels Gade and Edmund Neupert. In 1884, he travelled to Germany to study with Franz Liszt. Schytte lived and taught in Vienna between 1886 and 1907 and spent the last two years of his life teaching in Berlin. His shorter works are still used today as educational studies for piano students. Originally trained as a pharmacist, Schytte composed a Piano Concerto in C-sharp minor, Op. 28, and a Sonata in B-flat, among numerous other piano works. He also wrote two operas: Hero (25 September 1898 in Copenhagen) and Der Mameluk (22 December 1903 in Vienna). / - A method to find scores: (http•••) - My donation link to keep the channel growing: (http•••) Thanks for listening :-)
Franz Adolf Berwald Bernhard Crusell Hirschfeld Liszt 1440 1796 1819 1821 1850 1868
Franz Adolf Berwald (23 July 1796 – 3 April 1868) was a Swedish Romantic composer. He made his living as an orthopedist and later as the manager of a saw mill and glass factory, and became more appreciated as a composer after his death than he had been in his lifetime. Please support my channel: (http•••) Quartet for Piano, clarinet, horn and bassoon in E-flat major, Op. 1 (1819) 1. Adagio: Allegro ma non troppo - Allegro assai - Tempo I (0:00) 2. Adagio (11:28) 3. Allegro - Più Allegro (14:40) Joakim Kallhed, piano and the Arion Wind Quintet Details by Edition Silvertrust: Berwald's three movement Quartet for Piano, Clarinet, horn and Bassoon dates from 1819. It was premiered in Stockholm in 1821 with three virtuoso wind players--Bernhard Crusell on clarinet, Johann Hirschfeld on Horn and Franz Preumayer on Bassoon. It was not well received and in fact was attacked by the Swedish critics who could not understand what they considered an unnecessarily original style. Though fairly typical of the emerging German Romantic style, it was considered avant garde cacophony in conservative Sweden which was far behind musical tastes in Germany and Austria. The Quartet is one of the few works for this combination from the early 19th century. It opens with a short Adagio introduction which leads to an upbeat and bustling Allegro ma non troppo. The middle movement, an Adagio is rather sedate. The finale, Allegro, begins attacca begins as a light hearted rondo but is interspersed with march–like episodes. Sometime during the 1850’s, a German music critic is reputed to have asked Franz Berwald +••.••(...)) if he was still a composer. Berwald stared at him coldly and replied, “No, I am a glass blower.” This was neither a joke nor a sarcastic put-down of the critic by a bitter man whose music had been spurned in his own country and whose career in music had met with failure after failure. Berwald had in fact, at that time, actually been a glass blower! He had become involved with this successful business, and not his first, in order to make a living, something he could not do as a musician. Liszt, whom Berwald befriended in the 1850’s, told him, “You have true originality, but you will not be a success in your own lifetime.” Sadly, this prediction proved true. Berwald’s music remained unplayed and for the most part—especially in his native Sweden—unappreciated. Now, nearly a century and half after his death, he has been hailed by critics all over the world as a great Swedish composer. Born in Stockholm in 1796, Berwald was taught the violin by his father, a German who had settled in Sweden and was a member of the court orchestra. Berwald followed in his footsteps.
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