Elizabeth Pym Cumberland Vidéos
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- Angleterre
Dernière mise à jour
2024-05-16
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Granville is a family friendly suburb in western Sydney, in the state of New South Wales, Australia. Granville is located 18 kilometers west of the Sydney central business district, split between the local government areas of Cumberland City Council and the City of Parramatta. South Granville is a separate suburb. #virtualtour #roadtrip #granville #newsouthwales #sydney #australia
Cumberland Schalk Nagel Jerry Kirkbride Reuter 1758 1985
A February 20th, 1985 live performance of Emile Bernard's "Divertissement", op.36, for Double Wind Quintet; performed by the combined Dorian and Cumberland Quintets at Tennessee Tech University, in Cookeville, Tennessee. The Cumberland Quintet personnel include Stephen Clark / clarinet, Robin Fellows / flute, Becky Schalk Nagel / oboe, David Rachor / bassoon, and Ted LaBar / horn. The Dorian Quintet personnel include Jerry Kirkbride / clarinet, Karl Kraber / flute, Gerard Reuter / oboe, Jane Taylor / bassoon, and David Jolley / horn. EVETS KRALC PRODUCTIONS 00:00 Andante sostenuto - Allegro molto moderato 07:58 Allegro vivace 12:56 Andante 17:58 Allego non troppo
Frédéric Chopin Laborde Delacroix Cumberland Santa Maria Stockhausen Mendelssohn Liszt Fauré Tomaszewski Sir Charles Hallé Maurice Ravel Hugo Leichtentritt 1697 1722 1726 1738 1743 1768 1780 1798 1810 1819 1838 1845 1846 1848 1849 1863 1874 1895 1951 2019
Frédéric Chopin (1810–1849) Barcarolle in F sharp major, Op. 60 Allegretto Gabrielle de Laborde Gahres, piano Recital live recording. New York City, United States (September 2019) All rights reserved Gabrielle de Laborde Gahres Cover: Portrait of Frédéric Chopin, 1838 painting by Eugène Delacroix (French painter, muralist and lithographer, 1798–1863). Musée du Louvre, Paris, France. Artworks, score: – Autograph score (first page) of Chopin's Barcarolle. This manuscript was used in preparation of the first edition. The British Library, Music Collections, London. – San Geremia and the Entrance to the Cannaregio, c.1726–27, by Canaletto (Giovanni Antonio Canal, Italian painter, 1697–1768). Royal Collection, Cumberland Art Gallery, Hampton Court Palace, London. – The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola, about 1738, by Canaletto. The J. Paul Getty Museum, Los Angeles, United States. – View of the Grand Canal: Santa Maria della Salute and the Dogana from Campo Santa Maria Zobenigo, about 1743, by Bernardo Bellotto (Italian painter, nephew of Canaletto, 1722–1780). The J. Paul Getty Museum, Los Angeles, United States. The Barcarolle, Op. 60 is a grand, expansive work from the late period in the oeuvre of Frédéric Chopin. Written in the years 1845–46, dedicated to Madame la Baronne de Stockhausen, it was published in 1846. Chopin refers in this work to the convention of the barcarola – a song of the Venetian gondoliers which inspired many outstanding composers of the nineteenth century, including Mendelssohn, Liszt and Fauré. Yet it is hard to find a barcarolle that would compare with Chopin's work for beauty and compositional artistry. Attention is quite often drawn to the Barcarolle's affinity with the Nocturnes, and also with the Berceuse Op. 57, which may be interpreted as "music of the evening and the night" (Mieczysław Tomaszewski). But one should not overstate this affinity, since the Barcarolle is considerably longer than most of the Nocturnes and appears to reach deeper. Venice, which it evokes, can also be pictured in sunshine, not only "to moonlight," and the Barcarolle is also quite different to lullabies and dreams-it spins a tale that is hot and intense. It is perhaps less a "song of the night" than a "song of love." It is certainly close to the Nocturnes and the Berceuse, meanwhile, in the particular richness and refinement of its ornamentation. The Barcarolle proceeds in a moderate tempo, in 12/8 time. The basis for its development is the tuneful melodic line, reminiscent in style of Italian bel canto. The melody is accompanied by a repeated accompaniment figure in the bass (on the principle of ostinato), whilst the melody itself is led in characteristic doublings-primarily in thirds and sixths. The ornamentation of the melody encompasses a variety of means, including double trills (in thirds), contributing to an exceptional expressive and coloristic richness. The form of the work can be generally defined as tripartite, A B A1 (reprise), with an inner, tonally contrasting, section in A major. One can also distinguish a short, intriguing introduction and an exquisite coda. Many commentators draw attention to the aura of eroticism that is strongly present in this exceptionally beautiful composition. Also stressed is the work's Italian, southern atmosphere, and particularly its links with Venice, although the Italian tone would appear to be restricted here to the function of picturesque decoration, serving to brilliantly convey a truly universal message. The Barcarolle is generally considered a masterpiece, and Chopin must have been its ideal interpreter. At his very last Paris recital, in 1848, Sir Charles Hallé (Anglo-German pianist and conductor, 1819–1895) heard the frail master, who now "played it from the point when it demands the utmost energy, in the opposite way, pianissimo, but with such wonderful nuances that one remained in doubt if this new rendering were not preferable to the accustomed one." The work displays Frédéric Chopin's ornamental genius in full bloom. Maurice Ravel wrote, "Chopin was not content merely to revolutionize piano technique. His figurations are inspired. Through his brilliant passages one perceives profound, enchanting harmonies. Always there is the hidden meaning which is translated into poetry of intense despair. The Barcarolle is the synthesis of the expressive and sumptuous art of this great Slav." Hugo Leichtentritt (German-Jewish musicologist and composer, 1874–1951) expressed his perception, interpretation and experiencing of this work with the following words: "A work of bewildering beauty."
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