George Frederick Root Vidéos
compositeur américain
Commémorations 2025 (Décès: George Frederick Root)
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2024-05-06
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Sir Edward Elgar Sir John Barbirolli Allegri Piacevole Sinfonia London New Philharmonia Orchestra 1403 1800 1802 1857 1899 1909 1914 1934 1962 1966
Sir Edward Elgar +••.••(...)) English Strings Music. *Find this recording in our Spotify playlist* : (http•••) *Click to activate the English subtitles for the presentation* (00:00-02:30) 00:00 Introduction and Allegro, Op.47 with Allegri String Quartet Serenade for Strings in E minor, Op. 20 14:03 I. Allegro Piacevole 18:02 II. Larghetto 24:02 III. Allegretto, Come Prima 27:15 Elegy, Op. 58* 31:46 Sospiri, Op. 70* Sinfonia of London New Philharmonia Orchestra* Recorded in 1962, 1966, at London Painting: British School 19th century (1800–1899) www.tate.org.uk Find CMRR's recordings on SPOTIFY : (http•••) Download CMRR's recordings in High fidelity audio (QOBUZ) : (http•••) Barbirolli saw how the smaller works were tributaries flowing into the main broad stream. This perceptiveness is especially notable in his conducting of the Elegy and Sospiri, recorded with the New Philharmonia Orchestra in mid-July 1966. Together they do not last 10 minutes, but in that time what an emotional canvas is covered. The Elegy (1909) is the more formal. It was written ostensibly as a memorial to a former official of the Worshipful Company of Musicians, but one cannot escape the feeling that something more personal was the cause of these elegiac thoughts, so serenely expressed and written with such mastery of the sound of strings. Barbirolli finds its heartbeat, as he does even more poignantly in Sospiri (1914) for strings, harp and organ. What are the 'Sighs' of the title? Nothing trivial, we may be sure, for there is heartbreak in this music and, as Barbirolli conducts it, a Mahlerian nervous tension. Whatever was at the root of this exposure of innermost grief, it shook Elgar to the core of his being. Elgar - Enigma Variations, Nemrod / Pomp and Circumstance, March (Cent.rec.: Sir John Barbirolli): (http•••) Edward Elgar PLAYLIST (reference recordings): (http•••)
Bertold Hummel Hummel Berger Hesse Schott Streicher Weise Klage 1925 1984 1985 2002
Bertold Hummel +••.••(...)) POEM for Violoncello and Strings Op. 80 (1984) I. II. 11:26 Julius Berger, Violoncello Chamber Orchestra University of Music Würzburg Conductor: Günther Wich Recording: 1985 Content and form are taken in a subjective way from the Steps poem by Hermann Hesse. The brief motifs that appear everywhere reflect in "magical formula script" the parable of the Glass Bead Game, which cyclically moves from a game with coloured beads to a game with symbols. Magic and dreams, starting out and feelings of regret, parting and transfiguration, these are the moods, often following one another in rapid succession - at the root of all this lies the thirst for life and the longing for suffering and wholeness. Bertold Hummel Publisher: Schott Music (http•••) / Bertold Hummel +••.••(...)) POEM für Violoncello und Streicher op. 80 (1984) I. II. 11:26 Julius Berger, Violoncello Kammerorchester der Hochschule für Musik Würzburg Dirigent: Günther Wich Aufnahme: 1985 Inhalt und formale Gestaltung sind in subjektiver Weise dem Stufengedicht abgewonnen. Die vielfach aufscheinende Kurzmotivik der beiden Teile lehnt sich in "magischer Formelschrift" dem Gleichnis des Glasperlenspiels an, das im Ring zum Spiel mit bunten Perlen, zum Spiel mit Symbolen wird. Zauber und Traum, Aufbruch und Klage, Abschied und Verklärung sind die Stimmungen, die oft in raschem Wechsel aufeinander folgen - untergründig der Durst nach Leben und die Sehnsucht nach Leid und Vollendung. Bertold Hummel Verlag: Schott Music (http•••)
Lam Ming Valen Hsu Qi Fei Sheng Guo Tao Tseng Zhao Yong
Smacktalk it if you think you are right... (http•••)o FirstGameWorld Media: (http•••) Faye Wong Bored Face Hypnotized Leave nothing Legend Sky I will Pledge The world Chess piece Ormosia Wish never apart Teresa Teng Don't pick the roadside flowers See the chimney smoke again I only care about you The story of a small town Telosma cordata The moon represents my heart Comrades: almost a love story S.H.E Where is your love Migratory bird Persian Cat Super star Chinese Stay young Sandy Lam Scar I understand Clang Rose The night is too dark At least I still have you When the love became bygone Han Hong Hometown Hope Qinghai-Tibetan Plateau The sea (live) Dawn Heavenly road Tsai Chin Shang Hai night Just like your tenderness Go-abroad song The spirit of your eyes Reading you Mao A Min Mother in the illuminance of candle The green leaves and the root The same song Longing for Missing Na Ying Miss rather than meet If the mountain doesn't spin the water will A smile and walk away Looking at flowers in a fog Conquer Meng Ting Wei Telepathy Wild lily also has its spring The bygones Look at the face of the moon A Valentine's Day without a valentine A-Mei Bad Boy Once I think of you Nothing you want Listen to the sea Sarah Chen Is it right to love you Red dust Say you love me Dream to awakening Dadawa Story of red-crowned cranes Ballad Of Lhasa Sister drum Song Zu Ying Jasmine Spice girls Good days Annie Yi Can't be closed Firefly The last day of 19-year-old Fish Leong Swallowtail butterfly Courage Tranquil summer Elva Hsiao Wonderful bachelordom Cappuccino Jolin Tsai See my 72 changes Prague Square Chen Ming The happy hometown Loneliness makes me beautiful Phoenix Legend On the moon Fly freely F.I.R. Crescent moon bay Our love Valen Hsu If the cloud knows Stars are the diamonds of the poor Qi Yu High heels of September Olive tree Feng Fei Fei More than I can say Applause Tong Sheng Let us sway twin oars Where is the spring Mavis Hee Moonlight of the downtown Sunshine after the rain Ding Wei Butterfly with the broken wings Girl with the quartet Yang Yu Ying I don't wanna say Let me tell you gently Li Na God bless good man Rambles in the sky Tian Zhen Wild flowers Girls of Ali Mountain Peng Li Yuan On the field of hope Hero paean Guo Lan Ying Waves after waves in Hong Hu Lake Nan Ni bay Li Gu Yi Unforgettable night Stall tea Yin Xiu Mei The Chang Jiang river Little grass Matilda Tao Too grievous Sisters, please stand up Christine Fan The original dream True or false Man Fong Everything new Guess what's in your mind Karen Joy Morris Overcast Love song on the radio Shun Za Nights alone cryin' Going home René Liu Lonely all my life Later Sun Yue The companion Wish you safe and sound Stefanie Sun Cloudy day Green light Mavis Fan Health song Snow man Julie Su My dear child Hold your hand Jenny Tseng Wayside flowers Four Girls The wish Li Qiong Mountain road 18 bends Stella Chang Getting married (with a never-meet man) Tarcy Su Everyday in my life E-Jun Lee My thankful heart Wang Zheng We were all good children Pan Mei Chen I want a home Angela Chang Invisible wings Huang Ya Li Besides the butterfly spring Zhu Xiao Lin Mother's kiss Tracy Huang Sweet words Zhu Ming Ying Return to parents' home Zhao Yong Hua The most romantic thing Winnie Hsin Understanding Cyndi Wang Curled eyelash Gigi Leung Short hair
Manfred Stahnke Harry Partch Dreyer Bourdon Ligeti 1901 1987 2005 2014 2017
Manfred Stahnke: PARTCH HARP, for harp and synthesizer Gesine Dreyer, Harfe Manfred Stahnke, Synthesizer DX 7-II This piece was written in 1987/89 for a harp in scordatura, containing "natural" just major thirds (5/4) and "natural" just minor sevenths (7/4). The numbers 5 and 7 indicate the partials of a fundamental tone "1" of course. The synthesizer's tuning follows the harp tuning and allows these just intervals for any played pitch up and down (the tuning is 12th root of 1.956, which means a12ET of a narrow "non-octave"; the mistake against just 5/4 or 7/4 is less than 1 cent). The way of thinking in "whole numbers" looks quite mathematical, but it is very much linked to how our ear is working. Apparently it measures towards "simplicity": If we listen to a so-called "tempered" interval, the ear adjusts these intervals mentally to the simpler forms, and will accept a "distuned" third as a "natural" third with some added noisy features. In my piece "PARTCH HARP" however, the "noisiness" becomes a well incorporated part. If the deviation from the simple interval is too big - say a quarter tone - then the ear cannot adjust anymore and detects a "wrong" interval. This is especially true for my octaves and fifths, the very simple 2/1 and 3/2 proportions. Imagine three "just thirds" on top of each other C-E-G#-B#. the summed up deviation from an octace C-c is almost a quartertone. The same is true for my synthesizer tuning where every minor second is "short" by 3.5 cents. If you superimpose 7 of them to get a fifth, this strange "fifth" misses 7x3.5=24.5 cents, a very audible eighth tone. The strange - or charming - feature of PARTCH HARP is that the harp is tuned in perfect octaves, and the synthesizer not. By this I get a strangely drifting vessel in an ocean of well tuned asymmetry. As to the title: Harry Partch +••.••(...)) invented a just tuned 43 tone scale, and to play it, he built his own instrumentarium. The movements are: Zwiegesang - double chant Partch Harp Partch Bourdon Partch en ciel / Soundfiles and Scores at Babelscores (http•••) Books on Microtonality: • Mein Blick auf Ligeti, Partch & Compagnons. Gesammelte Aufsätze, Vorträge und Interviews, 424 Seiten, Norderstedt 2017, ISBN 978-3-7431-6663-9 • 1001 Microtones, Neumünster 2014 ISBN 978-3-95675-003-8 • Mikrotöne und mehr - Auf György Ligetis Hamburger Pfaden, Hrsg. von Manfred Stahnke, Hamburg 2005, ISBN 3-932696-62-X Portrait: • Just in Tone & Time, Assoziationen an Manfred Stahnke, ed. Benjamin Helmer & Georg Hajdu, engl. / deutsch, Neumünster 2017, ISBN-10: 3956750209
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