Jarosław Zieliński Vidéos
pianiste et compositeur polonais
Commémorations 2024 (Naissance: Jarosław Zieliński)
- piano
- Pologne, États-Unis
- compositeur ou compositrice, pianiste, professeur ou professeure de musique
Dernière mise à jour
2024-05-09
Actualiser
Louis Andriessen Brouwer Claron McFadden Cristina Zavalloni Casella Marcel Beekman Reinbert Leeuw Hartley Gilman Zielinski Dutch National Opera 1959 2011
00:00 Part 1 - The City of Dis, or the Ship of Fools 19:59 Part 2 - Racconto Dall'inferno 39:24 Part 3 - Lucifer 1:03:08 Part 4 - The Garden of Earthly Delights 1:19:50 Part 5 - Luce Etterna Composer: Louis Andriessen Electronic Music: Anke Brouwer Beatrice: Claron McFadden Dante: Cristina Zavalloni Lucifer: Jeroen Willems Casella: Marcel Beekman Children’s Chorus de Kickers of Music School Waterland Orchestra: Asko|Schönberg Conductor: Reinbert de Leeuw Dutch National Opera Film by Hal Hartley Editor: Kyle Gilman Robby Duiveman: Costume Design Scott Zielinski: Light Design A powerful, beautiful, and fun opera, very justly winning the 2011 Grawemeyer Award Unfortunately, the film is now out of print The libretto and translation are available here: (http•••)
Gere Lawton Erdman Przybylski Preisner Teatr Muzyczny
„Pretty Woman” to ponadczasowa historia miłosna, którą znają wszyscy dzięki kinowemu przebojowi z Julią Roberts i Richardem Gere. Musical na jego kanwie powstał zaledwie dwa lata temu; jego kompozytorem jest Bryan Adams. libretto - Garry Marshall i J. F. Lawton muzyka i teksty piosenek - Bryan Adams i Jim Vallance Na podstawie filmu produkcji Touchstone Pictures w oparciu o scenariusz J. F. Lawtona Wystawienie w porozumieniu z Music Theatre International (Europe) Limited: www.mtishows.eu wystąpili Malwina Kusior Marcin Jajkiewicz Paweł Erdman scenariusz Jakub Szydłowski reżyseria Franciszek Przybylski Jakub Szydłowski kierownictwo muzyczne Jakub Lubowicz dobór kostiumów Ewa Posmyk konsultacja kostiumograficzna Anna Chadaj zdjęcia Franciszek Przybylski asystent operatora Michał Wydrzyński Kajetan Zieliński wsparcie oświetlenia w przestrzeniach Teatru Muzycznego w Łodzi Remigiusz Ristok montaż Franciszek Przybylski wykorzystano utwór „Oh, Pretty Woman” Ray Orbison, Bill Dees w wykonaniu obsady spektaklu „Pretty Woman” wokal: Małgorzata Chruściel, Marcin Jajkiewicz chórki: Emilia Klimczak, Justyna Kopiszka, Paweł Erdman, Piotr Płuska, Marek Prusisz nagranie, mix i mastering utworu Łukasz Zachwieja udźwiękowienie filmu Franciszek Przybylski producent Teatr Muzyczny w Łodzi producenci wykonawczy Magdalena Szuster Katarzyna Potyralska-Stach kierownik planu Michał Preisner dyżurny planu Łukasz Szyszkowski obsługa techniczna planu ze strony Teatru Muzycznego w Łodzi Jacek Żyliński Sebastian Wojtysiak Piotr Knopp Marek Zientalak Robert Rześny Mariusz Pietrzak garderobiana Krystyna Chorąży pracownia perukarsko-fryzjerska Małgorzata Strzelczyk Barbara Rosik Teatr Muzyczny w Łodzi dziękuje: - Centralnemu Muzeum Włókiennictwa w Łodzi za użyczenie przestrzeni do realizacji spotu - Ogrodom Geyera za użyczenie przestrzeni do realizacji spotu - Pani Magdalenie Popiel za użyczenie sukni dla Malwiny Kusior - firmie A&A Dom Jubilerski za użyczenie naszyjnika dla Malwiny Kusior - firmie EkstraLimuzyna.pl za użyczenie limuzyny - firmom Fastmedia, Lighthouse.guru, GRIP7 za wsparcie techniczne - Fundacji Lodz Arte za wsparcie finansowe produkcji
Fryderyk Chopin Ignaz Moscheles François Joseph Fétis Fontana Karol Mikuli Felix Mendelssohn Muzio Clementi Johann Baptist Cramer Carl Czerny Franz Liszt Zielinski 1829 1832 1833 1835 1837 1839 1840 1841
Fryderyk Chopin Classical Music Excerpt from the beginning of the Étude Op. 25, No. 5 Étude Op. 25, No. 5, in E minor, is a technical study composed by Frédéric Chopin in 1837. Marking a serious departure in the expected technique developed previously, Chopin wrote this étude with a series of quick, dissonant minor seconds. The effect has earned the étude the nickname "Wrong Note". The Etudes by Frederic Chopin are three sets of etudes (solo studies) for the piano published during the 1830s. There are twenty-seven compositions overall, comprising two separate collections of twelve, numbered Op. 10 and Op. 25, and a set of three without opus number. Chopin's Études formed the foundation for what was then a revolutionary playing style for the piano. They are some of the most challenging and evocative pieces of all the works in concert piano repertoire. Because of this, the music remains popular and often performed in both concert and private stages. Some are so popular they have been given nicknames; arguably the most popular of all is Op. 10, No. 3, sometimes identified by the names "Tristesse" ("Sadness") or "Farewell" ("L'Adieu"), as well as the "Revolutionary Étude" (Op. 10, No. 12). No nicknames are of Chopin's original creation. All twenty-seven etudes were published during Chopin's lifetime; Op. 10, the first group of twelve, were composed between 1829 and 1832, and were published in 1833, in France, Germany, and England. The twelve études of Op. 25 were composed at various times between 1832 and 1835, and were published in the same countries in 1837. The final three, part of a series called Méthode des méthodes de piano compiled by Ignaz Moscheles and François-Joseph Fétis, were composed in 1839, without an assigned opus number. They appeared in Germany and France in November 1840, and England in January 1841. Accompanying copies of these important early editions, there are usually several manuscripts of a single étude in Chopin's own hand, and additional copies made by his close friend, Jules Fontana, along with editions of Karol Mikuli, Chopin's student. The first études of the Opus 10 set were written when Chopin was still in his teens. They rank alongside the early works of Felix Mendelssohn as rare examples of extremely youthful compositions that are regarded as both innovative and worthy of inclusion in the standard canon. Chopin's etudes elevated the musical form from purely utilitarian exercises to great artistic masterpieces. Although sets of exercises for piano had been common from the end of the 18th century (Muzio Clementi, Johann Baptist Cramer, Ignaz Moscheles, and Carl Czerny were composers of the most significant), Chopin's Études not only presented an entirely new set of technical challenges, but were the first to become a regular part of the concert repertoire. His études combine musical substance and technical challenge to form a complete artistic form. They are often held in high regard as the product of mastery of combining the two. His effect on contemporaries such as Franz Liszt was apparent, based on the revision Liszt made to his series of concert études after meeting Chopin. Contemporary Polish musicologist Tadeusz A. Zielinski wrote, on Op. 10, that "not only did they become an orderly demonstration of a new piano style and the formulas peculiar to it, but also an artistic ennoblement of this style." Chopin's Etudes are not without modern influence as well. Several of the etudes have lodged themselves in popular music, movies, or television shows. #chopin #chopinetude #classicalmusic #bestclassicalmusic
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