Felix Corbett Vidéos
compositeur
- Angleterre
Dernière mise à jour
2024-05-21
Actualiser
Yamamoto Paine Corbett Szpilman Sakai 1919 1923 1937 1941 1966 1988 2000 2010 2011 2012 2013 2015 2016 2017
Admiral Yamamoto: "In the first six to twelve months of a war with the United States and Great Britain I will run wild and win victory upon victory. But then, if the war continues after that, I have no expectation of success." Totalists: "Don't worry, we got this covered." SOURCES BELOW Why did Japan decide to fight the United States? This video traces the progress of Japanese grand strategy from the end of WWI to the beginning of WWII. The key strategic question Japan sought to address during this period was the challenge of total war - how to militarily survive in a world dominated by industrial behemoths. From internationalism to traditionalism to totalism, from the Manchurian Incident to the US oil embargo, Japanese strategymakers attempted to find solutions amid a deteriorating international environment, ultimately resulting in Pearl Harbor. All errors (especially the Japanese) are my own. I should add that while it's not the point of this video to bring this up, Japan's totalist strategy did/would have created tremendous regional suffering. Apart from the totalitarian control, exploitation and racism, totalists also argued that one way that Japan could achieve victory with a smaller economy was through chemical and, most notoriously, biological weapons. SOURCES: General: Maiolo J. Cry Havoc, Basic Books, 2010 Barnhart M. Japan Prepares for Total War, Cornell University Press, 2013 Drea E. Japan's Imperial Army, University Press of Kansas, 2016 Evans D, Peattie M. Kaigun, Naval Institute Press, 2012 Paine S. The Japanese Empire, Cambridge University Press, 2017 (NOT as good unfortunately) Traditionalist/Limited War: - See video sources on Julian Corbett. Kita Ikki/Totalism: Aizawa K. 'The Shock of the First World War', 2nd International Symposium on Security Affairs, Mar 2000 Szpilman C. 'Kita Ikki and the Politics of Coercion' Modern Asian Studies 36, 2(2002): 467–90 Wilson G. 'Kita Ikki's Theory of Revolution', Journal of Asian Studies 26, 1 (Nov 1966): 89-99 Mimura J. Planning for Empire, Cornell University Press, 2011 1920s Diplomacy: Jordan J. Warships after Washington, Naval Institute Press, 2015 Sakai T. 'The Soviet Factor in Japanese Foreign Policy, 1923-1937', Acta Slavica Iaponica, 6 (1988): 27-40 Matsuzato K (ed.) Russia and Its Northeast Asian Neighbors, Lexington Books, 2016 Manchuria: Charles River (eds.) The Japanese Invasion of Manchuria, Charles River Editors, 2016 Nish I. Japan's Struggle with Internationalism, Routledge, 2000 2nd Sino-Japanese War: Peattie M, Drea E, Van de Ven H. The Battle for China, Stanford University Press, 2011 ATTRIBUTIONS: Wikipedia for basic fact-checking Google Maps AND Omniatlas for map references Made using Powerpoint 2013.
Bunch Shields Reeve Gould Corbett 2010 2016 2019 2020
This performance was recorded on March 2, 2020. We will continue releasing Tiny Desk videos of shows that had already been taped. In light of current events, NPR is postponing new live tapings of Tiny Desk Concerts. In the meantime, check out Tiny Desk (home) concerts! They’re recorded by the artists in their home. It’s the same spirit — stripped-down sets, an intimate setting — just a different space. June 1, 2020 | Stephen Thompson / You can probably guess that we recorded the original Broadway cast of Hadestown before the coronavirus pandemic made live theater (live anything) an untenable risk. The reminders are everywhere — in the way 16 performers bunch up behind the desk, singing formidably in close proximity as a large crowd gathers just off camera — that this took place in the Before-Times. To be specific, on March 2. We'd actually been trying to put this show together since the spring of 2019, when Hadestown was a freshly Tony-nominated hit musical. We hit several delays along the way due to scheduling issues, only to end up rushing in an attempt to record while playwright Anaïs Mitchell — who wrote both the musical and the 2010 folk opera on which it's based — was eight months pregnant. Thankfully, we captured something truly glorious — a five-song distillation of a robust and impeccably staged Broadway production. A raucous full-cast tone-setter, "Way Down Hadestown" lets Hermes (André De Shields, in a role that won him a Tony) and Persephone (Kimberly Marable, filling in for Amber Gray) set the scene before a medley of "Come Home With Me" and "Wedding Song" finds Orpheus (Reeve Carney) and Eurydice (Eva Noblezada) meeting and falling in love. "When the Chips Are Down" showcases the three Fates — spirits who often drive the characters' motivations — as played by Jewelle Blackman, Yvette Gonzalez-Nacer and Kay Trinidad. And in "Flowers," Eurydice looks back with regret and resignation on her decision to leave Orpheus for the promise of Hadestown. Finally, the set concludes with "Why We Build the Wall," which quickly became Hadestown's most talked-about number. (Mitchell wrote it a full decade before the 2016 election, but you'd never know it.) Though the song includes the full cast, it's also a show-stopping showcase for the sonorous thunder of Patrick Page, who performs with a gravity befitting the king of the underworld. SET LIST "Way Down Hadestown" "Come Home With Me/Wedding Song" "When The Chips Are Down" "Flowers" "Why We Build The Wall" MUSICIANS André De Shields: Hermes; Kimberly Marable: Persephone; Jewelle Blackman: Fate, accordion; Yvette Gonzalez-Nacer: Fate, violin; Kay Trinidad: Fate, percussion; Reeve Carney: Orpheus; Eva Noblezada: Eurydice; Patrick Page: Hades; Anaïs Mitchell: composer, vocals, guitar; Liam Robinson: piano, accordion; Brian Drye: trombone, glockenspiel; Megan Gould: violin; Ilusha Tsinadze: guitar; Ben Perowsky: drums; Malcolm Parson: cello; Chris Tordini: bass CREDITS Producers: Stephen Thompson, Josh Rogosin, Morgan Noelle Smith, Kara Frame; Creative director: Bob Boilen; Audio engineers: Josh Rogosin, J. Czys; Videographers: Kara Frame, Morgan Noelle Smith, Melany Rochester, CJ Riculan, Jack Corbett, Shanti Hands; Associate Producer: Bobby Carter; Production Assistant: Shanti Hands; Executive producer: Lauren Onkey; VP, programming: Anya Grundmann; Photo: NPR
Edward Elgar Cochran Corbin Weiss William Barbini Corbett Seo Ashton 2018
DYACE performs in their Debut Concert with soloists Amanda Culbreath, Miles Cochran-Branson, Albert Chang, and Corbin Weiss under the direction of William Barbini at Brunelle Hall, Davis Senior High School, September 30, 2018. Davis Young Artists Chamber Ensemble William Barbini, Music Director Violin - Miles Cochran-Branson, David Corbett, Amanda Culbreath, Alexander Di, Kaitlyn Glenn, Emily Lin*, Adrian Pu, Sean Seo, Rena Wang, Joshua Xu, Sophie Zhang** Viola - Albert Chang*, Emily Jao, William Li, Ashton Weiss Cello - Alexander Chang, Emma Chang, Sophia Lao, Jessica Li, Corbin Weiss* Bass - Clifton Heatlie* Piano - Sean Seo*/ Concertmaster * Principals DYACE members contribute equally to the group. Their names are listed alphabetically. Members may play different parts and instruments based on the needs of each piece. (http•••) (http•••) email: •••@•••
Tchaikovsky Russo William Barbini Cochran Corbett Ramirez Seo Ashton Weiss Corbin Cox 2019
Serenade for Strings in C major, Op. 48 . by Tchaikovsky Finale (Tema russo): Andante — Allegro con spirito Davis Young Artists Chamber Ensemble performs at 2019 Spring Concert, University Covenant Church, Davis, CA, 4/28/2019. Music Director: William Barbini Violin: Albert Chang, Miles Cochran-Branson, David Corbett, Amanda Culbreath, Alexander Di, Kaitlyn Glenn, Loor Jabareen, William Li, James Olichney, Sarah Park, Adrian Pu, Everett Ramirez, Sean Seo, Robin Stricklin, Rena Wang, Joshua Xu, Sophie Zhang Viola: Albert Chang, Miles Cochran-Branson, Elijah Johnson, William Li, May Wang, Ashton Weiss Cello: Alexander Chang, Ian Glenn, Corbin Weiss, Hanni Yu Bass: Nellie Cox, Jade Lundy DYACE members contribute equally to the group. Their names are listed alphabetically. Members may play different parts and instruments based on the needs of each piece.
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