Luigi Legnani Vidéos
musicien italien
- guitare, voix
- ténor
- royaume d'Italie
- compositeur ou compositrice, chanteur ou chanteuse, guitariste, guitariste classique
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Dernière mise à jour
2024-05-06
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Glazunov Fedotov Evgeny Svetlanov Tchaikovsky Stravinsky Mussorgsky Bland Rimsky Korsakov Balakirev Liszt Legnani Moscow Symphony Orchestra Kirov Theatre Bolshoi Theatre 1865 1882 1884 1889 1895 1896 1898
Performed by: Alexander Anissimov / Moscow Symphony Orchestra Victor Fedotov / Mariinsky (Kirov) Theater Orchestra (Act I Variation IV, Act III Mazurka) Evgeny Svetlanov / USSR State Academic Bolshoi Theatre Orchestra (Act III Mazurka Coda) If you were to ask anyone on the street who Glazunov was, most likely they would not know. And that's understandable. His music lacks the heart-on-sleeve lyricism of Tchaikovsky, or the orchestrational flair of Stravinsky, or the "outside-the-box-iness" of Mussorgsky. But that's OK. Because Glazunov has found the box, lives comfortably inside the box, and has furnished it with utmost class. He has no need to venture outside, because he already has everything he needs. A piece like his ballet Raymonda (1898) is a good example. On its surface, it might not sound that remarkable. It might even sound a bit bland. However, if you give it a chance, then you will find a composer who pays attention to every detail, handles every voice with care, and, in short, knows exactly what he is doing. His music may be old-fashioned for some, but one can certainly understand why he was in fashion during his time (or at least his early days!) That's why, when I found out that the complete score had been published to IMSLP, I couldn't resist making this video. There's an elegance to Glazunov's writing that the full score displays and which, in my opinion, makes perfect material for a score video like this. So just sit back, relax, and...well, watch it, please. (Or dance!) (I've already uploaded "highlights" of Raymonda in piano score version, which can be viewed here: (http•••) DESCRIPTION Born in 1865 in St. Petersburg, Glazunov was a leading Russian composer of the generation after Tchaikovsky. Displaying an immense musical talent as a child, Glazunov started studying with Rimsky-Korsakov at the age of 15. Glazunov's progress was indeed astonishing, for he completed his Symphony No. 1 at 16. In fact, his symphony, premiered by Balakirev in 1882, established, practically overnight, Glazunov's reputation as a great Russian composer. In 1884, the rich merchant and publisher Belyayev took Glazunov to Weimar, where the young composer met Liszt. Although absorbing many musical influences, particularly those of Liszt and Wagner, Glazunov eventually crafted an individual style, composing symphonies, ballets, and concertos for various instruments. Owing to his growing international fame as a symphonist, Glazunov was invited to conduct his works in Paris in 1889; an invitation from London came in 1896. During the 1890s, Glazunov composed some of his most successful works, including the fourth, fifth, and sixth symphonies, and the ballet Raymonda. Glazunov's score for the ballet Raymonda, Op. 57, props up a weak and fanciful narrative by novelist-journalist Lydia Pashkova, who submitted her ideas for a new scenario to Ivan Vsevolozhsy, director of the Russian Imperial Theatres, in 1895. Raymonda was originally produced in January 1898 at the Mariinsky (now Kirov) Theatre in St. Petersburg, with choreography by the great Marius Petipa. Prima ballerina Pierina Legnani (then in her benefit year) took the title role, with Sergei Legat as her suitor, the chivalrous knight Jean de Brienne. The action takes place in medieval Hungary. Raymonda is to marry the crusader Jean de Brienne, but when he is summoned to take up arms abroad, Raymonda becomes the object of desire of the wicked Saracen infidel Abderakhman, who plots her abduction. The beneficent White Lady (a spirit committed to the guardianship of Raymonda's noble family line in perpetuity) suddenly appears at the critical moment. The planned kidnapping is thus foiled, and Jean de Brienne slays Abderakhman in battle with the sword. The forgoing events, though entirely predictable, are spun out to occupy most of the ballet's first two acts. The third act focuses entirely on the betrothal and jubilant marriage celebrations for Raymonda and Jean de Brienne. Musically, this final act is composed of a series of divertissements and separate variations, one of which is the "pas classique hongroise," the most famous individual episode in the entire ballet. Though the somewhat ramshackle plot, with its banal and unsurprising outcome, is hardly an inspired literary creation, Raymonda survives in the repertory chiefly as the result of Glazunov's exquisite and imaginative score. Though Act III is occasionally presented on programs as a freestanding item, the complete ballet is seldom revived, overshadowed by the composer's more popular The Seasons (1898). SOURCE: Allmusic
Felix Mendelssohn Paganini Laing Johannes Brahms McIntosh Frédéric Chopin Devries Heinrich Hofmann Hofmann Fanny Mendelssohn Hensel Oskar Rieding Franz Schubert Ludwig Van Beethoven Camille Saint Saens Kelemen Fioravanti Luigi Legnani Friedrich Seitz Robert Schumann Borne Bizet Kerr Smirnov Stephens Pell 1501 1544 2022
Thank you for watching the HPO 2022 Community Recital featuring the music of the Romantic Era! The Community Recital is the culminating event of our 21-22 Composer Festival celebrating the life and music of Felix Mendelssohn and his impact on the Romantic Era. Scroll down to click timestamps for specific performances and be sure to read the bios of participating musicians! Read about all participating musicians here: (http•••) PERFORMANCE ORDER 02:02 Niccolo Paganini, Cantabile in D Major, Op. 17 Akiko Britz-McKibbin, Flute John Laing, Piano 05:43 Johannes Brahms, Waltz, Op. 39, No. 15* *???????????????????????????????????????????? ???????? ???????????????????????????? ???????????????????????????? Ella McIntosh, Violin Accompanied by Michael Schulte, Violin 08:04 Frederic Chopin , Polonaise in A Major, Op. 40, No. 1* *???????????????????????????????????????????? ???????? ???????????????????????????? ???????????????????????????? Ella McIntosh, Violin Accompanied by Michael Schulte, Violin. 10:55 Felix Mendelssohn, Organ Sonata No. 1 in F Minor, Op. 65, Finale: Allegro assai vivace Fredric DeVries, Organ 15:01 Heinrich Hofmann, Rogue, Op. 77, No. 1 Isabel Cuff, Piano 15:44 Fredric Chopin, Fantaisie-Impromptu in c sharp minor, op. 66 Christian Pulsone, Piano 21:52 Fanny Mendelssohn-Hensel, From Six Songs; #3 in a minor and #6 in A major Seiichi Ariga, Flute Lianne Tan, Piano 26:58 Oskar Rieding, Air Varié op. 23, no. 3 Theodora Chung, Violin 30:45 Franz Schubert, Impromptu No. 2 in E flat Major Geoffrey Cuff-Chartrand, Piano 35:07 Ludwig Van Beethoven, Für Elise Ali Truant, Ukulele 36:02 Camille Saint-Saens, The Swan from Carnival of the Animals Nicole Christian, Flute Michael Kelemen, Piano 39:03 Frédéric Chopin Nocturne, Op. 55, No. 2 in E flat Major Grace Fioravanti, Piano 43:53 Luigi Legnani, Caprice No. 28, Op. 20 Ethan Sun, Guitar 45:65 Friedrich Seitz, Concerto No. 5 in D Major, Op.22, iii: Rondo Florence Huang, Violin 49:10 Robert Schumann, Fantasiestuck - Op. 12, No. 9 - A flat Major Lily Small, Piano 51:55 Francois Borne, Fantasie Brillant sur ‘Carmen’ (of George Bizet) Jacob Caporiccio, Flute Rachael Kerr, Piano 01:02:55 Felix Mendelssohn, String Symphony No. 2 in D Major, ii: Andante Glenn Welbourn, Violin 01:07:06 Felix-Mendelssohn, Spring Song from Songs without Words, Op. 62 Marie Phillips, Clarinet 01:09:22 Niccolo Paganini, Sonatina in E Minor for Violin and Guitar Lucia Barcari, Violin Roman Smirnov, Guitar 01:13:01 Frederic Chopin, Ballade No.1 in G Minor, Op. 23 Alex Seredenko, Piano 01:23:22 Felix Mendelssohn, Wedding March Michael Fedyshyn, Trumpet Mary Jay, Trumpet Jessie Brooks, Horn Jennifer Stephens, Tuba David Pell, Trombone Thank you to all of the musicians from our community who participated in this year’s recital.
Luigi Legnani Rossini Paganini 1790 1877
For the complete Legnani Playlist (starting from Caprice No.1) click here: (http•••) To start my *entire* playlist from the very beginning (starting with Renaissance / Baroque) click here: (http•••) As always, I recorded these works in a "no hassle" way on my iPhone, using an Apogee iPhone microphone. Luigi Legnani loves the classical "orchestral" sound on the one hand and the sound of the solo virtuoso of that period on the other. Following this idea, his two prominent influences are Rossini and Legnani's friend Paganini. Elements of these two composers can be found in many of his caprices. No. 9, for example, shows the influence of Rossini and its forceful, excited chordal pages seem right out of a silent movie chase scene, something Rossini's music has actually been used for. Paganini's influence shows up in many restless passages but most obviously in Caprice No. 21 (with its rapid changes in left-hand positions) and especially in Caprice 36. The latter is in large part a "bare bones" study in scales with likewise many shifts in position. Legnani ventures in to difficult keys not normally encountered in guitar music (and likewise in most stringed instruments). Caprice No. 35, for example, is in e-flat minor / with its (whew!) six flats. There is only one open-string note (played once) in the whole piece. Unfortunately, there are no confirmed images of Legnani himself, though a doubtful picture of a guitarist with Legnani's name next to it is found on the internet. The image I used is from the book of Legnani's 36 Caprices published by Chanterelle Publishing Company (though I used the Lucio Matarazzo edition). (As always I dedicate my work to Angela De Vito-Lucia, who afforded me so much love and so many opportunities.)
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