Bernhard Flies Vidéos
compositeur allemand
- royaume de Prusse
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Dernière mise à jour
2024-05-16
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Tchaikovsky Chest Modest Tchaikovsky Nikolay Rimsky Korsakov Borne Raab Aleksandra Krutikova 1807 1860 1866 1872 1873 1874
Tchaikovsky: Six Romances Op. 16 (1873) II. Wait! (Погоди!) Moderato assai (A minor–A major) Tchaikovsky's Six Romances (Шесть романсов), Op. 16 (TH 95 ; ČW 218-223), were written in Moscow in December 1872 and January 1873. Instrumentation: Scored for high voice (Nos. 1, 2, 4, 5, 6), or low voice (No. 3), with piano accompaniment. Movements: II. Wait! (Погоди!) Moderato assai (A minor–A major) Wait a minute! Why hurry! After all, and so life rushes with an arrow. Wait a minute! Wait a minute! you will be able to forgive As the rays of the east will light up. But will we wait for such a night? Look, look how wonderful The dome of heaven has been removed with stars! How dreamy the moon looks! How dark in this canopy of trees, And what silence everywhere! You can only hear the birches whispering, Let the heart beat in the ardent chest... The air is full of the scent of roses... Dear friend! This is life, not dreams! Life flies... wait! Life flies... wait! Nikolay Grekov (1807–1866), from an untitled poem (by 1860). Composition: The romances were composed by Tchaikovsky in Moscow, apparently soon after finishing work on his Second Symphony. On 2/14 November 1872 he wrote that: "... the symphony, which I'm finishing off, has engrossed me so deeply that I'm not able to do anything else". By 15/27 November the symphony was ready and copied out. In letters to his father of 22 November/4 December and 9/21 December. Tchaikovsky reported that he was going to relax after completing his symphony. and not write anything further. But on 10/22 December he told Modest Tchaikovsky: "Now I am forced to rest by the absence of any inspiration or inclination to compose; I did try to write some romances, but somehow they all came out badly, and I couldn't find words that I liked. If you aren't particularly busy, could you send me a list of suitable verses? I've filled a whole ream of paper with verses, but they are all so terrible that not one of them is suitable to set to music". It seems that in December, not having found an appropriate text, Tchaikovsky wrote the words himself for the romance So What? (No. 5). Modest Tchaikovsky understood that the Op. 16 romances were written in December 1872. This information is contained in a letter from Tchaikovsky to Vasily Bessel concerning the publication of the pieces: "During his stay in Saint Petersburg [in December 1872] Tchaikovsky often met with... members of the so-called "mighty-handful"... One evening at Rimsky-Korsakov's, Pyotr Ilyich played his new symphony on the piano, precipitating an enthusiastic response from all those present... Tchaikovsky then presented Bessel with his latest Six Romances, Op. 16, for publication. which had only just been composed". The author's opinion that the romance So What? (No. 5) was the best of the Op. 16 set is borne out in a letter to Vasily Bessel of 21 February/5 March 1873: "I recommended ... one of my new romances to Madame Raab, namely So What?". Performances: The romances O, Sing that Song (No. 4) and So What? (No. 5) were performed, seemingly for the first time, in December 1874 – the first by Aleksandra Krutikova, and the second by Mariya Kamenskaya. Publication: The Six Romances were published for the first time by Vasily Bessel in March 1873, along with the composer's piano arrangements of Nos. 1, 4 and 5. In letters of 4/16 March and 7/19 March 1873. Tchaikovsky wrote to Bessel: "I have only just received my romances and hurried to drop you this note to urge you to sequestrate them, i.e. to withdraw all copies of these romances, since they contain some appalling printing errors. I hurriedly checked through them and saw several musical mistakes, and one literary error, sufficient in itself to spoil the whole work. Indeed in the best romance (in my opinion), No. 5, on page 4 in place of the word korish (кориш) [you find fault] the word kutish (кутиш) [you get drunk] has been printed instead, which made me shudder. I implore you at once to gather together all copies and thoroughly examine the proofs, which if you want, I will do myself... The point is that I really expected No. 5 to be a success, but the word kutish has ruined any chance of that". Autographs: Tchaikovsky's manuscript scores of all six romances are now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 131). The same archive also holds the autograph of Tchaikovsky's arrangement of No. 5 for solo piano (ф. 88, No. 132). Dedication: Each of the Op. 16 romances is dedicated to a different person: II. Wait is dedicated to Nikolay Rimsky-Korsakov.
Envious and jealous of the beauty of a mortal girl named Psyche, Venus asks her son Cupid (known to the Greeks as Eros) to use his golden arrows while Psyche sleeps, so that when she awakens, Venus (Aphrodite in the Greek tradition) would have already placed a vile creature for her to fall in love with. Cupid finally agrees to her commands after a long (and failed) debate. As he flies to Psyche's room at night, he turns himself invisible so no one can see him fly in through her window. He takes pity on her, for she was born too beautiful for her own safety. As he slowly approaches, careful not to make a sound, he readies one of his golden arrows. He leans over Psyche while she is asleep and before he can scratch her shoulder with the arrow, she awakens, startling him, for she looks right into his eyes, despite his invisibility. This causes him to scratch himself with his arrow, falling deeply in love with her. He cannot continue his mission, for every passing second he finds her more appealing. He reports back to Venus shortly after and the news enrages her. Venus places a curse on Psyche that keeps her from meeting a suitable husband, or any husband at that. As she does this, it upsets Cupid greatly, and he decides as long as the curse stays on Psyche, he will no longer shoot arrows, which will cause the temple of Venus to fall.
Daniel Protheroe Jenkins Fel 1813 1893 1974 1976 2010
No copyright claim, against any audio or image content, is assumed in the publishing of this video. Copyright is owned by original artist or artists, or their legally appointed representatives. The Monmouthshire Massed Male Choir "Laudamus" (Pen Calfaria) for Easter 2010 from the 1976 EMI album "The Very Best of Welsh Choirs" EMC 3099 "Bryn Calfaria (Hill of Calvary) is a hymn tune arranged by Daniel Protheroe under the title Laudamus, said to have been written originally on a piece of slate by William Owen +••.••(...)) on his way to work at the Dorothea Quarry" The Monmouthshire Massed Male Choir (c) 1974 Laudamus (Owen-Pantycelyn arr Protheroe) Chappel Music & Co Ltd Conducted by Rae Jenkins Piano; John Samuel Organ: Gareth Williams Gwaed y Groes syn codi i fyny Reiddil yn goncwerwr mawr Gwaed dy roes sydd yn darostwng Cewri cedyrn fyrdd i lawr Gad im deimlo, Gad im deimlo, Gad im deimlo Awel O Galfaria fryn Awel O Galfaria fryn Cymer, Iesu, fi fel rydwyf Fyth ni allaf fod yn well Dallu di am gwna yn agos, Fewyllys i yw mynd ymhel Yn dy glwyfau, yn dy glwyfau, yn dy glwyfau, Byddain unig fyth yn iach Byddain unig fyth yn iach Ymddiried af yn dy allu Mawr ywr gwaith a wnest erioed; Ti gest angeu, Ti gest uffern, Ti gest Satan dan dy droed Pen Calfar-ia, Pen Calfar-ia, Pen Calfar-ia, Nac aed hwnw byth om cof Nac aed hwnw byth om cof Calvary's blood the weak exalteth More than conquerors to be, Calvary's blood the strong abaseth Myriad hosts to bow to Thee. O Revive me, O Revive me, O Revive me With a breeze from Calvary With a breeze from Calvary Take me as I am, O Saviour Better I can never be Thou alone canst bring me nearer Self but draws me far from thee I can never, I can never, I can never But within Thy wounds be saved. But within Thy wounds be saved. Wearied of the desert journey Which through pain and peril goes I have failed, alone, to conquer E'en the meanest of my foes. But the strongest, But the strongest, But the strongest, Flies, before Thy glorious Name Flies, before Thy glorious Name I will thrust Thy might unmeasured Great the work that marks Thy way; Thou hast death, and Thou hast Satan, Thou hast hell beneath Thy sway; Hill of Calv'ry! Hill of Calv'ry! Hill of Calv'ry! I shall praise for evermore. I shall praise for evermore. I shall praise for evermore.
STEP Through the Looking Glass: Stories Told of Experimental Processes ((http•••) is a multimedia exhibition involving displays of objects in a collaboration between the artist, scientists working on COVID-19 related or other clinical research and patients involved in cancer research in the UCD Conway Institute. The exhibition provides a window through which you can glimpse the trappings and workings of the scientist’s world. You can hear them talking about their selected objects, about what these objects mean to them personally and how some of them are used in their research experiments, as well as learning a bit about who they, the person behind the science research, are. This video captures the conversation between Niamh O'Sullivan and Lorna Donlon. Niamh is an Assistant Professor in the UCD School of Biomolecular and Biomedical Science. She is also the head of a research lab in UCD Conway Institute that uses fruit flies to better understand diseases like motor neuron disease. How can a pesky fly help science research? Well, about 75% of genes that cause disease in humans can also be found in flies which means that these flies can be used to study and better understand human disease.
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