Lyndsie Holland Vidéos
actrice britannique
Commémorations 2024 (Décès: Lyndsie Holland)
- mezzo-soprano
- Royaume-Uni
- artiste lyrique
Dernière mise à jour
2024-05-16
Actualiser
GAUMONT BRITISH NEWSREEL (REUTERS) To license this film, visit (http•••) Dutch athlete Fanny Blankers-Koen wins the 100-yard dash and comes from behind to win the relay at a United States track and field meet Full Description: USA: Los Angeles: EXT AMERICA. Fanny Blankers-Coen wins 100Yds dash in Los Angeles, also seen in final change over in the relay race, FANNY BLANKERS-KOEN. Wins 100 dash in Los Angeles, wins relay race, United States of America; Personalities - Sport; The Netherlands "The Flying Housewife", Francina ("Fanny") Elsje Blankers-Koen, run, runner, race, sprint, Olympics, gold medal, gold medallist, leg, Dutch, running, track, athletics, athletes Background: Dutch athlete Fanny Blankers-Koen wins the 100-yard dash and comes from behind to win the relay at a United States track and field meet FILM ID: VLVADSBNFDREYIXQTJ4PUEYVB9Y9O To license this film, visit (http•••) Archive: Reuters Archive managed by: British Pathé
Louis Andriessen Mariss Jansons Hendrik Andriessen Boulez Stravinsky Baaren Berio Guevara Schat Reinbert Leeuw Mengelberg Stockhausen Koninklijk Concertgebouworkest Hoketus Royal Concertgebouw Amsterdam Holland Festival 1939 1957 1962 1963 1965 1966 1968 1969 1972 1973 1976 1977 2013
Louis Andriessen (1939) Mysteriën (Mysteries) : for orchestra (2013) Orchestra: Koninklijk Concertgebouworkest Conductor: Mariss Jansons Commissioned by the Royal Concertgebouw Amsterdam for the Royal Concertgebouw Orchestra on the occasion of the 125th anniversary of both hall and orchestra Louis Andriessen is a Dutch composer, son of Hendrik Andriessen. After a few youthful works influenced by neo-classicism and serialism in the manner of Boulez he moved steadily away from the postwar European avant garde and towards American minimalism, jazz and Stravinsky. Out of these elements he has developed a musical language marked by extremes of ritual and masquerade, of monumentality and intimacy, of formal rigour and intuitive empiricism. The epitome of the Hague School, he is regarded as the most influential Dutch composer of his generation. Andriessen was born the youngest son of a musical family. His father and his elder brother Jurriaan, who passed on to him his musical experiences of Stravinskian neo-classicism and jazz, were his earliest mentors. Between 1957 and 1962 he studied composition at the Royal Conservatory in The Hague with Van Baaren. After receiving the composition prize there, he continued his studies with Berio in Berlin and Milan +••.••(...)). Back in the Netherlands he played an active role in the increasing politicization of the arts put into practice during the Holland Festival in 1969 with the collective work Reconstructie, a music-theatre morality based on the character of Che Guevara; the composers involved were Schat, van Vlijmen, Reinbert de Leeuw and Misha Mengelberg, all former students of Van Baaren. Later the same year Andriessen was involved in the Notenkrakersactie, the disruption of a concert by the Concertgebouw Orchestra, whose artistic policy the protesters regarded as reactionary. This controversial act has since come to be seen as a turning-point in postwar Dutch musical life. For Andriessen it led to a permanent abandonment of the medium of the symphony orchestra. Convinced that musical renewal cannot be separated from the renewal of performance practice, he set up in 1972 De Volharding ('Perseverance') to perform his composition of the same name, and similarly in 1977, Hoketus, the result of a project at the Royal Conservatory; both ensembles have gone on to stimulate extensive new repertories. Andriessen began to teach composition and instrumentation at the Royal Conservatory in 1973, and in the mid-1980s started to be in great demand as a guest lecturer, particularly in the USA. It may be tempting to regard the première of De staat in 1976 as marking the birth of the 'real' Andriessen. A typically European response to the more ethereal American minimalism of the time, it made his name internationally. It is the first work in a line of monumental, for the most part 'didactic' compositions which mark moments of synthesis and re-orientation in his output; it also unveiled Andriessen's characteristic sonorities of brass, keyboards and bass guitars. However, his output from before De staat should not be viewed merely as a preliminary stage, since in it a number of distinctive (albeit short-lived) styles and techniques are discernible, becoming marked increasingly by personal features. At the extremes stand the graphic composition Registers (1963) and the exercise in youthful sentiment Souvenirs d'enfance (1966). In Ittrospezione III (Concept I) serial methods derived from Boulez are uneasily combined with a Cageian conceptualism, though pre-echoes of De staat are occasionally apparent in the work's instrumentation and form. Contra tempus of 1968 reveals Andriessen explicitly turning away from the avant garde's rejection of the past. The montage form, the mixture of static, 'chorale' continuos of sound, traced by the composer to such variable sources as Stockhausen's Momente, Stravinsky and pre-tonality, and the big-band-like instrumentation, all point in another direction. Most of all it is Stravinsky whom Andriessen considered / 'with his hand on my shoulder' / the model; the last chord of the work is the opening one of the Symphony of Psalms. With De volharding (1972), Andriessen moved a step closer to De staat. Composed in response to American minimalism in general and to Riley's In C in particular, the musico-political convictions which have determined Andriessen's development are reflected in the title, with its reference to the ideals of the early 20th-century labour movement
Johann Sebastian Bach Pieter Jan Leusink Bas Ramselaar Sytse Buwalda Liszt Netherlands Bach Collegium 1852 1919
We encounter Bach the transcriber once more in the opening sinfonia of the Ratwechsel cantata BWV29: a solo violin piece (the preludio from BWV1006) is turned into a full-blooded orchestral movement scored for trumpets, oboes and strings with the solo organ taking the original solo violin part. The result is unforgettable; especially exciting are a series of downward runs in the oboes and violins towards the end. The magnificent chorus which follows was later used by Bach for the Mass in B minor, the text `Wir danken dir, Gott’ quite fitting to the `Gratias agimus tibi’. It is in old motet style, the instruments doubling the vocal lines, fugatic with two themes, one for `Wir danken dir’ and one for `und verkündigen’. The trumpets come in late, first doubling the sopranos and only later being allotted entries of their own. There follows an aria with solo violin in which the tenor becomes quite enthusiastic when he sings of God’s most high name. A fine bass recitative leads to one of Bach’s most moving creations, a siciliano for soprano and orchestra praying for the work of the town council. A breathtakingly beautiful melody is first played by oboe and strings, then repeated in full by the soprano; the same happens with the second phrase, after which the second half of this second line is repeated in the orchestra - an unusual procedure but adding to the atmosphere of utter peace. An alto recitative which dramatically ends in `Amen’ leads to a curious repetition of the tenor aria in an abbreviated form, this time for alto and organ. In the closing chorale the trumpets have a fine independent role. Composer: Johann Sebastian Bach Artists: Netherlands Bach Collegium, Pieter Jan Leusink (conductor), Holland Boys Choir, Nico van der Meel (Tenore), Bas Ramselaar (Basso), Marjon Strijk (Soprano) & Sytse Buwalda (Alto) Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer): (http•••) These tracks are available for sync licensing in videos, films, tv-shows, games, advertising and more. For more information and to request a license go to: (http•••) Tracklist: Wir danken dir, Gott, wir danken dir, BWV 29: 00:00 I. Sinfonia 03:37 II. Coro. Wir danken dir, Gott, wir danken dir (Coro) 06:20 III. Aria. Halleluja, Stärk und Macht (Tenore) 12:31 IV. Recitativo. Gottlob! Es geht uns wohl! (Basso) 13:32 V. Aria. Gedenk an uns mit deiner Liebe (Soprano) 18:52 VI. Recitativo. Vergiß es ferner nicht (Alto, Coro) 19:19 VII. Aria. Halleluja, Stärk und Macht (Alto) 21:13 VIII. Choral. Sei Lob und Preis mit ehren (Coro) Social media links: Instagram: (http•••) Facebook: (http•••) TikTok: (http•••) Spotify Playlists: Brilliant Classics Spotify: (http•••) New Classical Releases: (http•••) The Best of Liszt: (http•••) The Best of Bach: (http•••) Most Popular Piano Music: (http•••) Beautiful Classical Music: (http•••) Classical Music For Dinnertime: (http•••) Thank you for watching this video by Brilliant Classics, we hope you enjoyed it! Don’t forget to share it and subscribe to our YouTube channel. And visit our channel for other pieces by J.S. Bach and more of the greatest composers. We upload daily with complete albums and compilations with the best classical music. (http•••) #Bach #BWV29 #ChurchCantatas #ClassicalMusic #BrilliantClassics
High Tension The Original Ramblers, directed by Theo Uden Masman "Excelsior Building", The Hague, Holland, late 1929 His Master's Voice, B 4821 Matrix: 30-3104 (BD 8862-I) Theo Uden Masman, p, leader; Maurits Dresse, bsx, voc; Kees Kranenberg, d; Eddie Meenk, tpt, voc; Jacques Pet, bjo; Wim Poppink, as, voc. Le sequenze del video sono tratte da un film del 1930 in cui si vedono il duo di cabaret Herman Tholen e Albert van Lier insieme agli Original Ramblers. I membri dell'orchestra mostrati nel film non sono esattamente quelli che hanno partecipato a questa registrazione. I membri dell'orchestra mostrati nel film sono: Marcel Thielemans, tb; Ferry Barendse, tpt; Jacques Pet, bjo; Kees Kranenburg, d; Theo Uden Masman, p, leader; Jack Bulterman, sax. Il film completo, con alcune sequenze in più, lo potete trovare qui: (http•••) Rispetto al film originale ho solo aggiustato la velocità per portarla il più vicino possibile a quella originale e ho selezzionato le scene più interessanti.
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