Michèle Command Vidéos
artiste lyrique française
- soprano
- France
- artiste lyrique, professeur ou professeure de chant
Dernière mise à jour
2024-06-08
Actualiser
Johann Christian Bach Bach Jean Pierre Rampal Pierre Pierlot Gérard Jarry Serge Collot Karl Friedrich Abel Christian Ferdinand Abel Burney Frederick Great 1735 1764 1768 1772 1776 1781 1782
00:00 Quintet No. 2 in G major: Allegro - Allegro assai 06:00 Quintet No. 5 in A major: Allegretto - Tempo di Minuetto 11:30 Quintet No. 1 in C major: Allegretto - Andantino - Minuetto con variazione 21:39 Quintet No. 6 in D major: Allegro - Andantino - Allegro assai 31:29 Quintet No. 3 in F major: Andante - Rondo (Allegretto) 38:14 Quintet No. 4 in E flat major: Andante - Minuetto - Allegro Flute: Jean-Pierre Rampal / Oboe: Pierre Pierlot French String Trio: Gérard Jarry, violin / Serge Collot, viola / Michael Tournus, cello Johann Christian Bach’s activities in London were not limited to the composition of Italian operas. In the English capital he met again a former pupil of his father’s: the viola da gamba player and composer Karl Friedrich Abel. It was for the latter’s father, Christian Ferdinand Abel, a member of the Coethen orchestra, that Johann Sebastian had composed his Suites for unaccompanied cello. In London Johann Christian joined forces with the son, Karl Friedrich, and founded a concert society. They were joint directors from 1764 to 1781, and Abel continued for a while after Johann Christian’s death. They gave a concert every week and, as Burney tells us, "as their own compositions were new and excellent, and the best performers of all kinds, which our capital could supply, enlisted under their banners, this concert was better patronised and longer supported than perhaps any one had ever been in this country; having continued for full twenty years with uninterrupted prosperity.’ Johann Christian was among the first to play the pianoforte publicly in London (June 2, 1768). He and Abel thus presented themselves as performers and composers at the same time. When the eight-year-old Mozart arrived in London in 1764 he found Johann Christian concert director, harpsichord teacher to Queen Charlotte, accompanist to the King (who, like Frederick the Great, played the flute), and music master to the royal children. Mozart listened with all his ears to the new compositions of the two German masters who were then setting the tone of English musical taste, and even copied some of them out. (It is known that the Symphony in E flat major, K. 18, formerly attributed to Mozart, is actually by Abel.) Several sets of works have come down to us in which Johann Christian employs wind instruments, sometimes alone and sometimes in combination with strings. Opus 11 — six quintets for flute, oboe, violin, viola, and bass — was published by Welcker in London about 1776. The Quintet in D major, Op. 22 has the same instrumentation. Other works include a Quintet in F major for oboe, violin, viola, cello, and harpsichord, four wind quintets published in Dublin after the composer’s death and known as Military Pieces, and six Sinfonias for two clarinets, two horns, and bassoon usually regarded nowadays as arrangements. Mrs. Papendieck’s diary recounts an episode in Johann Christian’s life about 1776. "John Bach’ was in the habit of playing every Thursday at her house with the Queen’s chamber musicians, and he and Abel would take turns to compose something for these gatherings. One day, having forgotten that it was his turn, Johann Christian sat down before dinner and composed "a ravishing first movement for a quintet in E flat major"; two copyists wrote out the parts at his dictation as the work proceeded. This was the origin of the fourth Quintet of Opus 11. The completed set was dedicated to Karl Theodor, Elector Palatine at Mannheim, where Johann Christian had enjoyed a real triumph with his Temistocles in 1772, and where he presented Lucio Silla in 1776. The dedication of the Quintets read as follows: "Your Highness’s benevolent approval of my efforts at Mannheim has given me infinite satisfaction. Music and the fine arts, supported by your favor and guided by your taste and the thoughtful strength of your judgment, flourish there with unsurpassed vigor. Your Highness’s new command gives me the greatest joy. I am also eager to offer Your Highness this modest token of my constant gratitude for the consideration you have been pleased to accord me.”
#daitoryu #daitoryuaikijujutsu #aikido #Ueshiba #nomadojo #大東流 #植芝 Photo is part of the collection of extraordinary images of Morihei Ueshiba taken in 1936 inside the Noma Dojo, a private kendo dojo of note. His partner and remarkable uke is Shigemi Yonekawa. Why are they so famous? They depict Morihei O-Sensei in his physical prime at age 52, in an incredible display of technical virtuosity. The complex throws and pins, the precision and complete command of his martial art as revealed in this collection are a wonder to behold. 写真は、1936年、注目の個人剣道道場である野間道場内で撮影された植芝盛平の異常なイメージ集の一部です。彼のパートナーであり、注目の受け手は米川茂美。なぜ、これほどまでに有名なのだろうか。52歳の全盛期の森平大先生が、信じられないような見事な技を披露しているのです。このコレクションで明らかにされた複雑な投げやピン、正確さと彼の武術の完全なコマンドは、見る者を驚かせます。 Part 1: (http•••) Part 2: (http•••) Part 3: (http•••) Part 4: (http•••) Part 5: (http•••) Part 6: (http•••) Part 7: (http•••) Part 8: (http•••) Part 9: (http•••) Part 10: (http•••) Part 12: (http•••) Part 13: (http•••) Part 14: (http•••) Part 15: (http•••) Part 16: (http•••)
#daitoryu #daitoryuaikijujutsu #aikido #Ueshiba #nomadojo #大東流 #植芝 Photo is part of the collection of extraordinary images of Morihei Ueshiba taken in 1936 inside the Noma Dojo, a private kendo dojo of note. His partner and remarkable uke is Shigemi Yonekawa. Why are they so famous? They depict Morihei O-Sensei in his physical prime at age 52, in an incredible display of technical virtuosity. The complex throws and pins, the precision and complete command of his martial art as revealed in this collection are a wonder to behold. 写真は、1936年、注目の個人剣道道場である野間道場内で撮影された植芝盛平の異常なイメージ集の一部です。彼のパートナーであり、注目の受け手は米川茂美。なぜ、これほどまでに有名なのだろうか。52歳の全盛期の森平大先生が、信じられないような見事な技を披露しているのです。このコレクションで明らかにされた複雑な投げやピン、正確さと彼の武術の完全なコマンドは、見る者を驚かせます。 Part 1: (http•••) Part 3: (http•••) Part 4: (http•••) Part 5: (http•••) Part 6: (http•••) Part 7: (http•••) Part 8: (http•••) Part 9: (http•••) Part 10: (http•••) Part 11: (http•••) Part 12: (http•••) Part 13: (http•••) Part 14: (http•••) Part 15: (http•••) Part 16: (http•••)
Minoru Nojima Liszt Brahms Campanella 1970
Minoru Nojima's 1970 studio recording of four works by Liszt. The great Japanese pianist has recorded remarkably little for a pianist of his capabilities, with only two solo discs released in the West in the mid-1980s having captured the attention of piano fans. This first studio account of the pianist from 1970 featuring works by Brahms and Liszt demonstrates his fusion of flawless technical command and musical integrity, with dazzling fingerwork, seamless phrasing, marvellous balance of primary and inner voices, iron-clad rhythmic pulse, and refined dynamic control. Feux Follets Harmonies du soir La Leggierezza La Campanella If you wish to support The Piano Files, please consider membership at my Patreon page: (http•••)
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