Dmitri Chostakovitch Vidéos
compositeur russe de la période soviétique
12
Commémorations 2025 (Décès: Dmitri Chostakovitch)
- piano
- symphonie, musique de chambre, opéra
- Union soviétique, Empire russe
- compositeur ou compositrice de musique classique, chorégraphe, pianiste, personnalité politique, musicien ou musicienne de jazz, professeur ou professeure d'université, librettiste, professeur ou professeure de musique, compositeur ou compositrice, réalisateur ou réalisatrice, scénariste
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Dernière mise à jour
2024-05-12
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Debussy Ravel Bach Shostakovich Ramos Cayabyab Bautista Sims Montenegro 1830 1909 2021
Bedroom Concerto #1 2021, Dominic Laxamana. All rights reserved. In partial fulfillment of the requirements of MuP 196 Playing time: 47 minutes Bedroom Concerto #1 is a seven-movement opus for orchestra, granulated samples, and synthesized melodic and percussion instruments. It is a work that can be performed live in the concert hall, but due to limited resources accentuated by the Covid-19 lockdown, the recording for my graduation recital is created with MIDI programming and sampled playback. The accessibility of computer programs and recording equipment allows one to create his/her own cost-efficient large work created specifically for listening at home or on the go. The melodic weaving between synthesizer presets and orchestra is an extension of the impressionist orchestration innovated by Debussy and Ravel. Klangfarbenmelodie (tone-color melody) is also incorporated. Melodic synthesizers are assigned modulating timbres for smoothly shifting instrumentation via mod wheel automations. Regarding other elements of music, polyrhythms are used to create time-based textures. Chromaticism is employed for tonal obfuscation. The structure of the piece is a dialogue between musique concrète and a more familiar convention of orchestral music. A recurring motif, based on the pelog scale of the Indonesian gamelan, is heard throughout the whole opus in various transmutations. The theory of evolution serves as my narrative basis, with a specific focus on mankind’s struggle to live in harmony with nature. I. Prologue (02:17) The first movement prologue starts in the key of G# minor but the latter part is a musique concrète work created with the same orchestral renderings of the first part of the prologue, only to be cut, stretched, spliced, pitch-shifted, and filtered through various granular synthesizer effects (I used Hadron Granular Synthesizer). II. Sonata (06:45) Keeping with the tradition of symphonies and concertos (though not placed as the first movement), a sonata form in D# minor takes form as the second movement. III. Interlude 1 (18:30) The third movement, a concrète interlude, still utilizes the same orchestral samples as the prologue, but spliced and pitch shifted to anticipate motifs of the other movements (such as the subject of the succeeding fugue). The interlude ends with samples that are spliced to mimic the interlocking patterns of the Philippine gangsa commonly heard in the Cordillera highlands. IV. Fuga (23:56) The fourth movement is a fugue in C# minor. The contrapuntal basis for the fugue has a subject and three countersubjects. The four voices are spread across the performing groups. Instead of keeping a constant time signature like the fugues of Bach and Shostakovich, this fugue has shifting time signatures with callbacks to established motifs. The structure of the movement is one mise-en-scène exposition and eleven episodes of free counterpoint interjected with several codettas and strettos. V. Interlude 2 (34:16) The fifth movement, which is the second concrète interlude, is a recap of the primordial listening of the previous concrète sections after an exhibition of harmonies that humans have evolved to develop and appreciate. The inclusion of this interlude is a mere reflection of humanity being a synthesis of the past and present, whose future is determined by both its willpower and its uncontrollable probabilities. VI. Time Mandala (37:04) The sixth movement, Time Mandala, is chronologically the first conceived movement of the concerto. It is based on a derived pelog scale of the Indonesian gamelan and the idea had been expanded into the other orchestral movements. VII. Epilogue (48:16) The final movement is a concrète epilogue that features the whole orchestral recording of the prologue, albeit the recording being spliced and reversed, signifying the work has come full circle. Credits: Public domain clips provided by Pixabay.com Public domain photos of the cosmos by NASA Bob’s Electric Theatre (1909), dir. Segundo de Chomón Recital poster by Patricia Ramos Instagram: (http•••) Facebook: (http•••) Acknowledgements: UP College of Music, Diliman, Quezon City UP CMu College of the Office Secretary UP Conemus Prof. Josefino “Chino” Toledo Dr. Verne de la Peña Dr. Maria Christine Muyco Dr. Marie Jocelyn Marfil Prof. Mary Katherine Cabral Dr. Jonas Baes Dr. Beverly Shangkuan-Cheng Ms. Cristina Maria Cayabyab Kuya Jec Bautista Sims family Bongosia family Montenegro family Dr. Rodel Noreli E. Lorenzo Dr. Albert Magcalas Mang Fred’s MusiKolektibo Mga tambay sa gilid ng College of Music Last but not least, my family
Claudio Abbado Shostakovich Berlin Philharmonic 1809 1906 1975 1997
五嶋 みどり(ヴァイオリン)Midori, Violin 5-8 Dec.1997 Live Recording クラウディオ・アバド指揮 ベルリン・フィルハーモニー管弦楽団 Claudio Abbado / Berlin Philharmonic Shostakovich +••.••(...)) : Concerto for Violin and Orchestra No.1 in A minor, Op.99 1. Nocturne. Adagio 11:34 (00:03) 2. Scherzo. Allegro non troppo 6:31 (11:37) 3. Passacaglia. Andante 12:32 (18:09) 4. Burlesque. Allegro con brio 5:10 (30:41)
Dmitrij Shostakovich Michiyoshi Inoue Inoue Nagoya Philharmonic Orchestra 1905 2007
January 22, 1905 - (St. Petersburg Bloody Sunday) The tremendous attack of the Czarist cavalry against the unarmed crowd gathered in front of the Winter Palace, the panic, the massacre, the Death, the Silence after the tragedy..., Extract from Mov. II of Dmitrij Shostakovich 11th Symphony Nagoya Philharmonic Orchestra MICHIYOSHI INOUE, conductor Live, December 5, 2007 - Tokyo, Hibiya Public Hall
Michiyoshi Inoue Inoue Dmitry Shostakovich New Japan Philharmonic Suntory Hall 2021
New Japan Philharmonic, #635 Jade Suntory Hall Series 3rd July, 2021, Suntory Hall, Tokyo Dmitry Shostakovich : Suite for Variety Stage Orchestra (Jazz Suite no.2) Conductor: Michiyoshi INOUE Concertmaster:Choi MUNSU Orchestra: New Japan Philharmonic 新日本フィルハーモニー交響楽団 第635回定期演奏会ジェイド〈サントリーホール・シリーズ〉 2021年7月3日 サントリーホール ショスタコーヴィチ:ジャズ組曲第2番より 指揮:井上道義 コンサートマスター:崔 文洙 管弦楽:新日本フィルハーモニー交響楽団
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