Paolo Giacometti Vidéos
pianiste néerlandais d'origine italienne
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2024-05-11
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Paul Klengel Klengel Pieter Wispelwey Paolo Giacometti Johannes Brahms Schubert 2017 2018
Provided to YouTube by The Orchard Enterprises Sonata in G Major, Op. 78: II. Adagio (Arranged in D Major by Paul Klengel) · Pieter Wispelwey · Paolo Giacometti · Johannes Brahms Schubert & Brahms: The Complete Duos - Rondo ℗ 2017 EPR-Classic Released on: 2018-02-09 Auto-generated by YouTube.
Bach Sonia Wieder Atherton Atherton Pascal Dusapin Wolfgang Rihm Akerman Giacometti Clay 2020
Digital Release date → June 2020 Stream//Download//Buy → (http•••) The Franco-American cellist Sonia Wieder-Atherton has always sought to make music a language open to the world. A prizewinner in the Rostropovich Competition at the age of twenty-five, she is the interpreter of choice for many contemporary composers, among them Pascal Dusapin and Wolfgang Rihm, while the voice of her cello also encounters the voices of actresses such as Fanny Ardant and Charlotte Rampling, as well as the film director Chantal Akerman. Sonia Wieder-Atherton has now signed an editorial partnership with Alpha Classics which starts out with a recording of Bach’s Cello Suites, inaugurated by the Suites nos.1 and 2 presented here. This volume and the two others that will follow (Suites 3 to 6) feature photos by the great Sarah Moon: For me, playing Bach's Suites is always at some point or another seeing the image of Giacometti's hands tirelessly moulding clay until a face appears. (. . .) To get to grips with the Bach Suites is an experience very close to that. It’s a question of digging into the string until the phrase is born, as well as the right way to breathe it. (...) And then came the encounter with Sarah Moon. When my desire to record the Bach Suites was born I dreamt of her images. Because, when I look at them, I imagine the creation of the world, the separation of the waters, the appearance of the earth, before history begins. Sonia Wieder-Atherton FACEBOOK→ www.facebook.com/alphaclassics TWITTER → www.twitter.com/alpha_classics INSTAGRAM → www.instagram.com/alpha_classics/ YOUTUBE → www.youtube.com/c/alphaclassics WEBSITE → www.outhere-music.com/alphaclassics #ClassicalMusic #Bach #AlphaClassics
Johns Finch Turner Hodges Sandby Daniels Mellon William Blake Barnett Giacometti 1660 1720 1775 1832 1850 2004 2006 2008 2009 2013 2016 2017 2019 2021
4 November 2021 12:00 – 2:00 pm This event is part of the online conference programme 'Graphic Landscape: The Landscape Print Series in Britain, c.1775–1850' 12.00–12.10 Introduction by Richard Johns (Senior Lecturer in History of Art at the University of York) 12.10–12.30 John Bonehill (Lecturer, History of Art, University of Glasgow), Picturing Property: The Estate Landscape and the Late Eighteenth-century Print Market 12.30–12.50 Kate Retford (Professor of Art History, Birkbeck, University of London), Views of the Lakes at the Vyne 12.50–13.00 Comfort break 13.00–13.20 James Finch (Assistant Curator, 19th Century British Art, Tate Britain), Amelia Long’s Views from Bromley Hill 13.20–14.00 Panel discussion and questions Richard Johns is Senior Lecturer in History of Art at the University of York where his research and teaching encompasses various aspects of British art. Landscape-related publications include Framing Robert Aggas: The Painter-Stainers’ Company and the English School of Painters (2008), Turner and the Sea with Christine Riding (2013) and From the Nore: Turner at the Mouth of the Thames (2016). In 2019 he co-curated the exhibition Ruskin, Turner & the Storm Cloud with Suzanne Fagence Cooper. John Bonehill teaches art history at the University of Glasgow. His research addresses various aspects of eighteenth-century art and culture, with publications including William Hodges: The Art of Exploration (with Geoff Quilley, 2004), Paul Sandby: Picturing Britain (with Stephen Daniels, 2009) and most recently Old Ways New Roads: Travels in Scotland 1720–1832 (with Anne Dulau and Nigel Leask, 2021). He is currently working on artist’s domestic sketching tours and completing a book-length study tentatively titled The Face of the Country: Estate Portraiture in Britain, 1660–1832. Kate Retford is Professor of Art History at Birkbeck, University of London. She has published widely on eighteenth-century British art, particularly on portraiture and the country house art collection. Her work includes The Art of Domestic Life: Family Portraiture in Eighteenth-century England (Yale University Press, 2006); Placing Faces: The Portrait and the English Country House in the Long Eighteenth Century, co-edited with Gill Perry et al. (Manchester University Press, 2013); and The Georgian London Town House: Building, Collecting and Display, co-edited with Susanna Avery-Quash (Bloomsbury Academic, 2019). Her recent book on the eighteenth-century British conversation piece, The Conversation Piece: Making Modern Art in Eighteenth-century Britain, was published by Yale for the Paul Mellon Centre for Studies in British Art in 2017, winning an Historians of British Art award. She is currently developing a project looking at the presentation of the country house as family home and will be writing a book about print rooms in eighteenth-century country houses, during a Leverhulme Research Fellowship in 2021–22. James Finch is Assistant Curator, 19th Century British Art at Tate Britain, where he has worked on the exhibitions Van Gogh and Britain, William Blake and Turner’s Modern World. He was previously Curatorial Assistant at the Royal Academy of Arts and wrote his PhD thesis on ‘The Art Criticism of David Sylvester’ (AHRC-funded Collaborative Doctoral Partnership between Tate and the University of Kent). He has also published essays on artists including Lucian Freud, Barnett Newman and Alberto Giacometti.
Biber Telemann Johann Sebastian Bach Matteis Pisendel Henryk Wieniawski Philippe Graffin Nobuko Imai Norrington Paolo Giacometti Forsberg Sousa Hattori Wigmore Hall Conservatoire Royal Bruxelles Doric String Quartet Royal Philharmonic 2016 2018
The Programme Biber: Passacaglia for Solo Violin Telemann: Fantasia for Solo Violin no 7 in E flat major, TWV 40:20 Pisendel: Preludio from Sonata in A Minor for Unaccompanied Violin, JunP IV.2 Matteis: Alia Fantasia Bach: Violin Sonata no 3 in C major, BWV 1005 Maria Włoszczowska (violin) Polish violinist Maria Włoszczowska performs as a soloist, chamber musician and guest concertmaster worldwide. She is recognised for her versatile musicianship, having won the First Prize and Audience Prize at the XXI Leipzig International Johann Sebastian Bach Competition in 2018, as well as numerous prizes at the XV International Henryk Wieniawski Violin Competition. Maria gave her debut recital at the Wigmore Hall with pianist Alasdair Beatson in 2016. She has appeared as soloist with several international ensembles since, including the Janáček Philharmonic Ostrava, Concerto Budapest and several of Poland’s symphonic and chamber orchestras. She regularly performs at festivals around Europe where her chamber music partners have included Robert Levin, Philippe Graffin, Nobuko Imai, Amy Norrington, Paolo Giacometti, Bengt Forsberg, Matthew Hunt, Alasdair Beatson, Dinis Sousa and the Doric String Quartet amongst others. Recipient of the Royal Philharmonic Society’s Emily Anderson Prize, the Hattori Foundation Senior Award and Poland's Minister of Culture and National Heritage Prize, Maria based herself in the UK after studying at the Conservatoire Royal de Bruxelles with Leonid Kerbel, the Royal Academy of Music in London and completing her studies at the Guildhall School of Music and Drama with Hungarian violinist and conductor András Keller. More information: (http•••)
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