Samuel Lucas Vidéos
compositeur
- États-Unis
Dernière mise à jour
2024-05-13
Actualiser
Llega a Telefe la nueva temporada de La Voz Argentina, el talent show musical número uno en el mundo. Con la conducción de Marley y la participación de Ricardo Montaner, Soledad, Mau y Ricky, y Lali como coaches, el programa más visto del 2021 regresa para encontrar a las mejores voces del país. Esta edición contará con la incorporación de Rochi Igarzábal como host digital, con contenido exclusivo que estará disponible en las redes sociales de Telefe y La Voz Argentina, y en mitelefe.com. Rochi será la encargada de mostrar todos los detalles del detrás de escena y la intimidad de Marley, los coaches y los participantes. Luego del impresionante suceso conseguido el año pasado, esta nueva temporada del exitoso big show contó con un casting de más de 10.000 aspirantes con un mismo sueño: ser #LaVozArgentina. Seguinos en: Facebook: (http•••) Twitter: (http•••) Instagram: (http•••) Tiktok: (http•••)
A formação de dois violinos e viola é pouco usual no repertório camerístico, porém foi um conjunto explorado em diversas ocasiões pelo compositor thceco Antonin Dvořák. Com toda a formalidade e seriedade de um concerto, Justo, Carolina e Rodrigo apresentam o primeiro movimento do Terzetto Op. 74, uma Introdução que termina em um momento de expectativa por uma resolução dos últimos tempos que se passaram. Violino 1: Justo Gutierrez Violino 2: Carolina Dorta Viola: Rodrigo Poggian Edição de áudio: Justo Gutierrez Edição de vídeo: Lucas Coelho Esta produção faz parte da mostra de música de câmera "OCAMers: abra o mic!", realizada por integrantes da OCAM (OCAMers) durante a pandemia. A mostra traz repertório diverso, com músicas curtas e em pequenos grupos de câmara. A coordenação dos trabalhos é do assistente de direção artística da OCAM Lucas Coelho.
Louis Joseph Andriessen Bach Brahms Nederlands Blazers Ensemble 1425 1505 1514 1857 1939 1976 2021
Composer: Louis Joseph Andriessen (June 6, 1939 – July 1, 2021) Ensemble: Nederlands Blazers Ensemble conducted by Lucas Vis 00:00 Oboes in hypnotic polyphony (01:59) Brash trombones and horns 02:53 Chorus Entry 1 over a cool mixolydian drive 04:31 A harder drive as the oboes and violas take the melody in a distant calling manner 05:52 The ostinato takes on a more menacing sound below biting clusters growing in intensity 07:52 ...climaxing into a tight funky unison 09:51 An extremely violent and thick texture (10:52) 12:28 ...resolves into warm waves of sound 15:05 The intensity and violence returns 18:57 Choir Entry 2, strict and authoritarian (21:20 great explosive power) (23:19) 26:14 Amazingly sinister texture of different mute sounds coming in and out building to 27:03 29:44 Choir Entry 3, cutting tutti chords 31:05 ...break down into a manic quasi-hocket Score available from Boosey and Hawkes: (http•••) Composer's Note: I wrote De Staat (The Republic) as a contribution to the debate about the relation of music to politics. Many composers view the act of composing as, somehow, above social conditioning. I contest that. How you arrange your musical material, the techniques you use, and the instruments you score for, are largely determined by your own social circumstances and listening experience, and the availability of financial support. I do agree, though, that abstract musical material - pitch, duration, and rhythm - are beyond social conditioning: it is found in nature. However, the moment the musical material is ordered it becomes culture and hence a social entity. I have used passages from Plato to illustrate these points. His text is politically controversial, if not downright negative: Everyone can see the absurdity of Plato's statement that the Mixolydian mode should be banned as it would have a damaging influence on the development of character. My second reason for writing De Staat is a direct contradiction of the first: I deplore the fact that Plato was wrong. If only it were true that musical innovation could change the laws of the State! I could write beautiful symphonic music, but then I'm not doing what I want to do, which is to develop a musical language which has other roots. In De Staat, you will recognize scales and pitches from Indonesian music, for example. Early bop and cool jazz have also influenced me very strongly, much more than Mozart, Bach, and Brahms. De Staat has nothing to do with Greek music, except perhaps for the use of oboes and harps and for the fact that the entire work is based on tetrachords, groups of four notes, which also explains the scoring for groups of four. ((http•••) How I make my videos: (http•••) Program I develop for this channel: (http•••)
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- chronologie: Compositeurs (Amérique du Nord).
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