Emilie Clarke Vidéos
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2024-05-14
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Clarke Keiko Abe Yanagisawa Selmer 1932 1968 2019
Kathy Clarke - Alto Saxophone Bella Scotti - Marimba Follow us on Facebook and Instagram: (http•••) (http•••) (http•••) Akira Yuyama (1932 – 2019) Divertiemto (1968) Divertimento for Marimba and Alto Saxophone was Composed at the request of the Marimba player Keiko Abe for a recital in 1968. ‘By both pioneering new technical skills and expanding the literature, Keiko Abe has transformed what was once considered a primitive “Folk” instrument into a full-fledged concert instrument welcome in any of the most prestigious concert halls.’ This piece was an early example of marimba music in Japan. Japan has now come to be one of the leading centres of composition for the Marimba. When Yuyama was tasked to composes a piece for the marimba he immediately decided to combine it with saxophone. The saxophone similarly to the Marimba has had some prejudice in the concert hall, even today. So, it only seems fitting Yuyama wished to combine the two ‘outsider’ instruments in this setting. The piece gives equal attention to both instruments, calling for six mallets at one point on the marimba and the use of the full range of the alto saxophone. Although the marimba and saxophone are from completely different instrumental families either can become a lead or accompaniment. Yuyama explores both the smooth improvisatory lines the saxophone can create and the more percussive aspect of its articulation. Frequently a repeated rhythm between the marimba and saxophone can be heard in the 7/8 moments. This part really showcases the timbre similarities between the instruments. Written in a Western style, Divertimento is a set of variations in a rondo form. The opening theme returns alternated between other themes, called episodes. Set up: Yanagisawa 901 Alto Saxophone. Selmer S90 180 Mouthpiece. Vandoren Optimum Ligature (Vertical Pressure Plate). Vandoren Anches Traditional Reed, 3.5.
Feodor Ivanovich Chaliapin Clarke Bourdon Dmitri Usatov Gounod Sergei Rachmaninoff Mussorgsky Boito Arturo Toscanini Sir Thomas Beecham Pabst Private Opera Bolshoi Theatre Scala Metropolitan Opera 1847 1872 1873 1894 1896 1899 1901 1907 1913 1914 1918 1921 1926 1927 1929 1931 1932 1933 1937 1938 1943 1984
Feodor Chaliapin sings - in English - 'The Blind Ploughman,' with orchestra conducted by Rosario Bourdon, recorded by Victor in the Church Building at Camden, New Jersey, on 18 March 1927. From Wikipedia: Feodor Ivanovich Chaliapin... February 13 [O.S. February 1] 1873 – April 12, 1938) was a Russian opera singer. Possessing a deep and expressive bass voice, he enjoyed an important international career at major opera houses and is often credited with establishing the tradition of naturalistic acting in his chosen art form... Feodor Chaliapin was born into a peasant family...His vocal teacher was Dmitri Usatov +••.••(...)). Chaliapin began his career at Tbilisi and at the Imperial Opera in Saint Petersburg in 1894. He was then invited to sing at the Mamontov Private Opera (1896–1899); he first appeared there as Mephistopheles in Gounod's Faust, in which role he achieved considerable success. At Mamontov Chaliapin met Sergei Rachmaninoff +••.••(...)), who was serving as an assistant conductor there and with whom he remained friends for life. Rachmaninoff taught him much about musicianship, including how to analyze a music score, and insisted that Chaliapin learn not only his own roles but also all the other roles in the operas in which he was scheduled to appear. With Rachmaninoff he learned the title role of Mussorgsky's Boris Godunov, which became his signature character. Chaliapin returned the favour by showing Rachmaninoff how he built each of his interpretations around a culminating moment or 'point.' Regardless of where that point was or at which dynamic within that piece, the performer had to know how to approach it with absolute calculation and precision; otherwise, the whole construction of the piece could crumble and the piece could become disjointed. Rachmaninoff put this approach to considerable use when he became a full-time concert-pianist after World War I. On the strength of his Mamontov appearances, the Bolshoi Theatre in Moscow engaged Chaliapin, and he appeared there regularly from 1899 until 1914. During the First World War of 1914-1918 Chaliapin also appeared regularly at the Zimin Private Opera in Moscow. In addition, from 1901, Chaliapin began touring in the West, making a sensational debut at La Scala that year as the devil in a production of Boito's Mefistofele, under the baton of one of the 20th century's most dynamic opera conductors, Arturo Toscanini. At the end of his career, Toscanini observed that the Russian bass was the greatest operatic talent with whom he had ever worked. The singer's Metropolitan Opera debut in the 1907 season was disappointing due to the unprecedented frankness of his stage acting; but he returned to the Met in 1921 and sang there with immense success for eight seasons, New York's audiences having grown more broad-minded since 1907. In 1913 Chaliapin was introduced to London and Paris by the brilliant entrepreneur Sergei Diaghilev +••.••(...)), at which point he began giving well-received solo recitals in which he sang traditional Russian folk-songs as well as more serious fare... Chaliapin toured Australia in 1926, giving a series of recitals which were highly acclaimed...[He remained] perpetually outside Russia after 1921. He still maintained, however, that he was not anti-Soviet. Chaliapin initially moved to Finland and later lived in France. Cosmopolitan Paris, with its significant Russian émigré population, became his base, and ultimately, the city of his death. He was renowned for his larger-than-life carousing during this period, but he never sacrificed his dedication to his art. Chaliapin's attachment to Paris did not prevent him from pursuing an international operatic and concert career in England, the United States, and further afield. In May 1931 he appeared in the Russian Season directed by Sir Thomas Beecham at London's Lyceum Theatre. His most famous part was the title role of Boris Godunov (excerpts of which he recorded 1929–31 and earlier)... Largely owing to his advocacy, Russian operas...became well known in the West. Chaliapin made one sound film for the director G. W. Pabst, the 1933 Don Quixote. The film was made in three different versions – French, English, and German, as was sometimes the prevailing custom. Chaliapin starred in all three versions, each of which used the same script, sets, and costumes, but different supporting casts... In 1932, Chaliapin published a memoir, Man and Mask: Forty Years in the Life of a Singer... Chaliapin's last stage performance took place at the Monte Carlo Opera in 1937, as Boris. He died the following year of leukaemia, aged 65, in Paris, where he was interred. In 1984, his remains were transferred from Paris to Moscow in an elaborate ceremony. They were re-buried in the Novodevichy Cemetery... I transferred this side from an Australian laminated pressing of HMV DA 993.
Clarke 1521 1614 1844 1887 1913 1935 1948 1960 1969 1978
Chapters - الأجزاء: 0:00 مقدمة - Introduction 0:40 before colonialism to independance - قبل الإستعمار الى الاستقلال 2:42 Greater Somalia - الصومال الكبير 3:20 After independance - بعد الإستقلال 4:34 Coup and revolution - الإنقلاب و الثورة 5:57 the road to war - الطريق المؤدي الى الحرب 6:43 the separatists - الإنفصاليين 7:48 directly before the war - قبل الحرب مباشرة 8:28 Allies - الحلفاء 8:45 Somali offensive - الهجوم الصومالي 12:04 Ethiopian counter offensive - الهجوم الأثيوبي المضاد 14:49 Notes on the conflict - ملاحظات على الصراع 15:21 After the war - بعد الحرب 16:14 The End - النهاية Sources - المصادر [1] The Ethiopian Revolution: War in the Horn of Africa (Yale Library of Military History) by Gebru Tareke [2] The Life and Times of Menelik II: Ethiopia 1844-1913 by Harold Marcus [3] Ogaden- Ethiopia’s Most Contested Territory by international crisis group [4] مشكلة الحدود الصومالية الاثيوبية و دور القوى الدولية فيها, رسالة ماجستير بقلم الطالب سليمان فارح [5] Ethnicity and Power in Ethiopia by Sarah Vaughan [6] TheEsayi dream - a foot note to the Ogaden war by Walter S. Clarke [7] النزاع الصومالي الإثيوبي حول الأوغادين 1960 1978 بقلم الدكتورة سميرة عبد الرزاق عبدالله [8] إقليم الصومال الغربي اوغادين وواجهات الصراع الصومالي الإثيوبي بقلم الدكتور سعيد سوادي [9] The Nile issue and the Somali-Ethiopian wars (1960s-78) by Teferi Mekonnen [10] The Somali Coup of 1969- The Case for Soviet Complicity by Gary Payton [11] The Politics of the 1969 Somali Coup by I.M. Lewis [12] The Ethiopian revolution: causes and results By Vijay Gupta [13] Ethiopia: Empire in Revolution by David and Marina Ottaway [14] The Occupation of Harar: January 1887 by RICHARD A. CAULK [15] Towards a history of the incorporation of the Ogaden 1887-1935 by Tibebe Eshete [16] 1969 coup by John Pike| (http•••) [17] قاموس أكسفورد (http•••) [18] University of central Arkansas| (http•••) [19] Library of Congress| (http•••) [20] Britannica| (http•••)
Clarke Chetan Ramlu Gingold 2018
Sangeet Mishra: sarangi Justin Firefly Clarke: guitar Tristan Carter: violin Chetan Ramlu: Tabla Filmed by Lee Gingold at the Adam Concert Room at Victoria University in Wellington, New Zealand. September 2018.
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- chronologie: Compositeurs (Europe).
- Index (par ordre alphabétique): C...