Emily Bear Vidéos
compositrice et pianiste américaine
- piano
- musique classique, RnB contemporain
- États-Unis
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Dernière mise à jour
2024-05-02
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For fan from Berkeley............................................................. In the late 20s and 30s tango was very popular in Turkey. For many composers and singers it was the first contact they had with "western" music. Turkish musicians and singer Ibrahim Özgür wrote many tango songs and had an evident talent for nostalgia. His velvety voice was predestined for romantic tangos. In the late 20s and 30s tango was very popular in Turkey. For many composers and singers it was the first contact they had with "western" music. With the help of Armenian and Jewish musicians Tango established itself very quickly. At the time Istanbul was a cosmopolitan city with many foreigners and elegant audiences enjoying themselves in countless night clubs. The first Tango were performed by female soloists. The first man to win such an audience was Ibrahim Özgür. He was born in Istanbul in 1905 and his father Mustafa played the horn in the state orchestra. When Ibrahim was 16 he went to Ankara, in order to study clarinet and saxophone in the Military Academy. After he'd finished studying he went back to playing in night clubs in Istanbul. He founded his own orchestra and became famous for his talented arrangements. In 1931 he began the adventure of his life: He went on a 7 year concert tour to the Far East. This tour began in Beirut and took him to India, Java, Sumatra, Singapore and Ceylon. Özgür returned to Istanbul via England, where he then opened his own club... In his country house near Istanbul where he kept horses, dogs, birds and even a bear, Özgür died of a heart attack. It was the evening of 11th. February 1959. His voice however remains immortal.
Chopin Grinberg Arthur Meyer 1791 1845 1863 1882 1900 1974 1987 1996 2015
Hotel Chopin as seen in the Film "Mon Homme" My Man (French: Mon Homme) is a 1996 French drama film written and directed by Bertrand Blier. It was entered into the 46th Berlin International Film Festival where Anouk Grinberg won the Silver Bear for Best Actress. The Passage Jouffroy is a covered walkway in the south of the 9th arrondissement of Paris, on the border with the 2nd arrondissement. It begins in the south between 10 and 12 boulevard Montmartre, and ends in the north at 9 rue de la Grange-Batelière.[1] Each passage is about 140 metres (460 ft) long and 4 metres (13 ft) wide. About 80 metres (260 ft) from its entrance on the Boulevard Montmartre, the passage makes a right angle turn and runs west for a few metres before descending some stairs. It then continues in a northerly direction to its outlet on the rue Grange-Batelière. This was imposed by the irregular pattern of the three plots on which the passage was built. This last part of the passage is particularly narrow, leaving room only for the corridor and a shop. The Passage des Panoramas opens as a continuation of the passage Jouffroy on the other side of the Boulevard Montmartre. The Passage Verdeau does the same on the other side, after crossing the street from the Grange Batelière. The passage is covered by a canopy of metal and glass. An ornate clock stucco overlooks the alley. The floor is paved with a geometric pattern composed of white, gray and black squares. The exit from the musée Grévin is located inside the Passage Jouffroy. History[edit] The Passage Jouffroy was built in 1845 along the line of the Passage des Panoramas in order to capitalize on the popularity of the latter. A private company was formed to manage it, headed by Count Felix de Jouffroy-Gonsans +••.••(...)), who gave his name to the passage, and M. Verdeau, who gave his name to the passage that was built as a further extension, the passage Verdeau. The passage was built by architects François Destailleur and Romain de Bourges. The Passage Jouffroy represents an important stage in the technological evolution of the 19th century and the mastery of iron structures. It is the first Parisian passage built entirely of metal and glass. Only the decorative elements are wooden. It is also the first passage heated by the ground. In the early 1880s Arthur Meyer, founder of the newspaper Le Gaulois, joined the cartoonist Alfred Grévin to create a gallery of wax figures on a property adjacent to the passage. It was inaugurated on 10 January 1882 and has since taken the name of the musée Grévin. The exit of the museum, decorated with a montage of various characters, is in the passage and contributes in large part to its success.[citation needed] The museum includes a hall of mirrors that was originally housed in the Palais des mirages designed by Eugène Hénard for the Exposition Universelle (1900).[3] In 1974 the passage was registered as a French historical monument. The passage was completely renovated in 1987 and regained its original paving. Camera: Canon 100d Lense: Canon EF 24-105mm f/4.0 L IS USM Lens Paris - June 2015
Tchaikovsky Bury Modest Tchaikovsky Rimsky Korsakov Borne Raab Aleksandra Krutikova Nikolay Rubinstein Rubinstein 1872 1873 1874
Tchaikovsky: Six Romances Op. 16 (1873) V. So What? (Так что же?) Allegretto (F-sharp minor) 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: V. So What? (Так что же?) Allegretto (F-sharp minor) Your image is bright, angelic And day and night with me; And tears and dreams And terrible, terrible dreams, You fill everything with yourself! You fill everything with yourself! So what? What? What? Though torment, but love! I am the secret of destructive passion I bury deep; And you reproach, you sting with shame! You only torture me Ruthless, rude mockery, Ruthless, rude mockery! So what? What? What? Tear, love! I am faithful to you to the grave, But you every day, every hour Change the poison in the heart pour You poison my life! No, I will not bear this torment! No pity in your heart! So what? What? What? Kill but love! Kill, but love, kill, kill me! Kill! But love! "N.N." (= Tchaikovsky) 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: V. So What? is dedicated to Nikolay Rubinstein.
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- chronologie: Compositeurs (Amérique du Nord). Interprètes (Amérique du Nord).
- Index (par ordre alphabétique): B...