Matteo Babini Vidéos
Dernière mise à jour
2024-05-16
Actualiser
Questo particolare ed esclusivo video-training su questo specifico effetto di magia, prodotto da una delle più prestigiose e riconosciute case magiche del mondo, è visionabile immediatamente dopo il pagamento tramite un download che potrai effettuare direttamente nel tuo computer. DTM Force is a way to force any number with the aid of a normal iPhone calculator. All the audience will participate with their own cell phones and do all the operations with you. Is possible to use a borrowed iPhone. No app only a clever method. In the performance you will see how to force day month and time of the performance that is the more powerful force to perform with the method, but you will force any number, like the serial number of a borrowed bill (that you change) your fantasy will find different way to use the method. Enjoy. Download now!
Aldo Parisot Bach Babini Villa Lobos Brazil Scala 1885 1918 1949 1958 2018
BACH: CELLO SUITE NO. 3 BWV 1009 Aldo Parisot, cello Aldo Simoes Parisot (born September 30, 1918) is a Brazilian-born American cellist and cello teacher, was formerly a member of the Juilliard School faculty, and served as a music professor at the Yale School of Music for sixty years (1958 to July 2018). LIFE LESSONS: ALDO PARISOT 17 August 2018 The venerable cello teacher, who celebrates his 100th birthday in September, recently announced his retirement from the Yale School of Music. He shares his insights and looks back at the beginnings of his distinguished career Try as hard as you can to find out who you really areand then convey it to the audience. When you’re performing in public, you’re there to tell a story. That does not involve staring at your fingerboard – there’s nothing there to help you! Look at the audience instead of the darn fingerboard. Sure, you can glance down occasionally, but you mustn’t let it get in the way of what you want to do musically. Aside from all the technical aspects of cello playing, the most important thing my teacher Tomazzo Babini taught me was to project my personality – and how to do it. Two years after my father dropped dead of a heart attack, my mother married Tomazzo, an Italian who had been principal cellist of the orchestra of La Scala in Milan. He was born in 1885 and later moved to Rio de Janeiro – where he became friends with Villa-Lobos – before settling in Natal in eastern Brazil, where he met my mother. After I had heard the beautiful sound of his playing, I told my mother I wanted to learn the cello and begged her to let me study with him. I was four. At first, he didn’t want to teach me because he thought a child of my age would quickly become bored. Of course, that wasn’t the case, and he soon realised I had potential. Tomazzo was both my stepfather and the only cello teacher I ever had: everything I know I owe to him. He introduced me to my first audience while I was still wearing short trousers and remained my mentor until his death in 1949. I have an incredible affinity with Bach. In the beginning, I had no idea whether I was playing his music right but I knew that I loved it. In a way, that’s the greatest thing about Bach’s works – they’re so full of mystery that there are infinite ways of playing them. People look for answers to every question, but they aren’t always there to be found. No one set of bowings or phrasings is the ‘right’ one. Your version will always be at least as good as any other because its origin is inside you. I pay attention to changes in string playing, and I respect people for doing things differently but, as far as I’m concerned, there’s nothing new on the market. I’ve never lost my optimism, about music or anything else, but I think that there is a limit to everything. The greatest experience for me is hearing one of my students and being so moved by their performance that I forget they are playing a cello at all. INTERVIEW BY PARISOT’S FORMER STUDENT RALPH KIRSHBAUM
Boulder Philharmonic Orchestra Babini 1922 1995
George Walker, composer and pianist I Theme and Ten Variations II (@ 02:43) Presto II (@ 04:00) Adagio IV (@ 08:00) Allegretto tranquillo from Albany TROY154 (1995) (http•••) This was the third release in Albany Records' continuing series of recordings devoted to the music of the American composer George Walker. This release presents a further selection of Mr. Walker's chamber music. For this recording, Walker is joined by other members of his family who are also performers. His son Gregory, a violinist, is the concertmaster of the Boulder Philharmonic Orchestra. He is also a Professor of Music and Director of Ensembles at the University of Colorado in Denver. He joins his father in a performance of the Violin Sonata No. 1. Ian Walker has pursued a career as an actor, director and producer of numerous theatrical performances. He is the speaker in the Poem for Soprano and Chamber Ensemble. Contents: George Walker, composer Piano Sonata No. 2 George Walker, piano George Walker, composer Sonata for Cello and Piano Italo Babini, cello, George Walker, piano George Walker, composer Poem for Soprano and Chamber Ensemble Capitol Chamber Artists, Ian Walker, speaker, Angelo Frascarelli, conductor George Walker, composer Sonata for violin and Piano No. 1 Gregory Walker, violin, George Walker, piano George Walker, composer Music for Brass, Sacred and Profane American Brass Quintet Review: "George Walker was born in 1922 in Washington DC and has had a long and distinguished career as performer, composer, and teacher....Albany 154 is devoted solely to Walker's compositions and includes three sonatas, a setting of Eliot's The Hollow Men for soprano and chamber ensemble, and a brass quintet. These pieces are all later than the First Sonata, and show the composer evolving a somewhat more chromatic language, though without abandoning the outlines of classical form in the sonatas....The Second Piano Sonata is more compact and epigrammatic than its predecessor and less direct in expression, though I found its proportions nicely-gauged and its textures effective." (American Record Guide)
Aldo Parisot Bach Babini Villa Lobos Brazil Scala 1885 1918 1949 1958 2018
BACH: CELLO SUITE NO. 5 BWV 1011 Aldo Parisot, cello Aldo Simoes Parisot (born September 30, 1918) is a Brazilian-born American cellist and cello teacher, was formerly a member of the Juilliard School faculty, and served as a music professor at the Yale School of Music for sixty years (1958 to July 2018). LIFE LESSONS: ALDO PARISOT 17 August 2018 The venerable cello teacher, who celebrates his 100th birthday in September, recently announced his retirement from the Yale School of Music. He shares his insights and looks back at the beginnings of his distinguished career Try as hard as you can to find out who you really areand then convey it to the audience. When you’re performing in public, you’re there to tell a story. That does not involve staring at your fingerboard – there’s nothing there to help you! Look at the audience instead of the darn fingerboard. Sure, you can glance down occasionally, but you mustn’t let it get in the way of what you want to do musically. Aside from all the technical aspects of cello playing, the most important thing my teacher Tomazzo Babini taught me was to project my personality – and how to do it. Two years after my father dropped dead of a heart attack, my mother married Tomazzo, an Italian who had been principal cellist of the orchestra of La Scala in Milan. He was born in 1885 and later moved to Rio de Janeiro – where he became friends with Villa-Lobos – before settling in Natal in eastern Brazil, where he met my mother. After I had heard the beautiful sound of his playing, I told my mother I wanted to learn the cello and begged her to let me study with him. I was four. At first, he didn’t want to teach me because he thought a child of my age would quickly become bored. Of course, that wasn’t the case, and he soon realised I had potential. Tomazzo was both my stepfather and the only cello teacher I ever had: everything I know I owe to him. He introduced me to my first audience while I was still wearing short trousers and remained my mentor until his death in 1949. I have an incredible affinity with Bach. In the beginning, I had no idea whether I was playing his music right but I knew that I loved it. In a way, that’s the greatest thing about Bach’s works – they’re so full of mystery that there are infinite ways of playing them. People look for answers to every question, but they aren’t always there to be found. No one set of bowings or phrasings is the ‘right’ one. Your version will always be at least as good as any other because its origin is inside you. I pay attention to changes in string playing, and I respect people for doing things differently but, as far as I’m concerned, there’s nothing new on the market. I’ve never lost my optimism, about music or anything else, but I think that there is a limit to everything. The greatest experience for me is hearing one of my students and being so moved by their performance that I forget they are playing a cello at all. INTERVIEW BY PARISOT’S FORMER STUDENT RALPH KIRSHBAUM
ou
- chronologie: Artistes lyriques.
- Index (par ordre alphabétique): B...