Arthur Weld Vidéos
Dernière mise à jour
2024-05-19
Actualiser
Assalamualaikum Salam Sejahtera Sahabat2 Semua... MEMORIES ( CROMOK ) - Intro and Solo Utama... Backing Track : YouTube WELD (http•••) Nota PH : Dua jam carik solo lagu ni terus recording...Maaf lah salah silap... Sebelum recording kemain bergulung lagi Sejak umur 14 tahun PH nak main solo lagu ni... Umur 40an baru dapat sikit2 Gitar : Epiphone Les Paul ( Pro Setup + Reintonation ) String : Elixir Nanoweb 9 | 46 Sound Gitar : All Solo : Direct Marshall Head + Marshall Cab Rhythm ( mixed with existing backing track ) Direct Bugera + Kustom Cab 4 x 12 Cab Direct Randall RG + Randall 4 x 12 Cab Disarankan menggunakan headphone atau speaker utk kualiti audio... #Cromok #Memories #Kidses
Franz Joseph Haydn Nikolaus Harnoncourt Grossman Weld Larson Concentus Musicus Wien 1732 1769 1773 1809 1994
Franz Joseph Haydn +••.••(...)) Symphony No. 59 in A major "Fire", Hob. I:59 (before 1769) 00:00 - Presto 06:21 - Andante o più tosto Allegretto 13:06 - Menuet & Trio 17:12 - Allegro assai Concentus Musicus Wien, dir. Nikolaus Harnoncourt (1994) "Whatever its precise origin, [the Symphony No. 59] is a highly original and theatrical piece. The acceleration, in the first movement (Presto), from quavers to semiquavers in the main theme (the violins hammering out the note 'A' repeatedly); the sudden shifts from 'piano' to 'forte'; the tremendous rhythmic intensity / it all seems to suggest music for the stage. The second movement is equally original. It begins for strings alone, in A minor, and is marked by Haydn's characteristic tempo, Andante o più tosto Allegretto. It is a spiky, asymmetrical theme which suddenly swerves into C major (the relative major) and a lovely, singing melody almost like an aria from an Italian opera. In the second part we modulate slowly back to a long pedal point on the dominant (E) / and the music abruptly switches to A major and the beautiful cantabile theme we noticed before when it was in C major. Up to now it has seemed that this will be another of Haydn's slow movements for strings alone; but with the advent of A major, the wind instruments join us. It is a lovely effect. But what are we to make of that shattering 'ff' horn call that interrupts the main theme? It would be pleasant to imagine that it is related to the military atmosphere of Grossman's 'Die Feuersbrunst' (1773), but we must remind ourselves that there are at least two known manuscript sources of the Symphony dated 1769! The main theme of the Menuetto is very strongly related to the principal theme of the slow movement, another instance of Haydn's constant attempt to weld the symphonic form into a cohesive whole. The Finale (Allegro assai), with its rousing horn and oboe fanfares, and its racing strings, was bound to be a success. It is one of those Haydnesque movements that contemporary British critics used to call 'phrenzied'; and it is also a very theatrical movement." - H. Robbins Landon Painting: Stormy Sea, Marcus Larson
Mozart Levin Carlos Kalmar Anett Fritsch Fritsch Clara Mouriz Paul Nilon Robert Holl Fasch Giovanni Punto Joseph Haydn Jan Ladislav Dussek Giovanni Paisiello Andreas Romberg Romberg Johann Gottfried Schicht Weber Beethoven Franz Schubert Alexandre Étienne Choron Ludwig Berger Berger Frédéric Chopin Luigi Lablache Gioacchino Rossini Hector Berlioz Charles Hallé Peter Cornelius Carl Wilhelm Müller Niemeyer Weld Westmorland Wiseman Liber Vix Sequentia Rtve Symphony Orchestra 1800 1801 1803 1805 1809 1810 1811 1812 1816 1817 1819 1821 1823 1826 1827 1828 1832 1834 1837 1838 1839 1840 1842 1849 1858 1860 1865 1867 1868 1869 1895
RTVE Symphony Orchestra. Carlos Kalmar, cnd. Anett Fritsch, Clara Mouriz, Paul Nilon and Robert Holl, soloists [Симфонический оркестр Испанского радио и телевидения] “Comment croire, après une pareille audition, que l'univers n'ait aucun sens?" [Emil CIORAN] 레퀴엠 D단조 (모차르트) (K.V. 626) “Un souffle de l'au-delà y plane. Comment croire, après une pareille audition, que l'univers n'ait aucun sens? Il faut qu'il en ait un. Que tant de sublime se résolve dans le néant, le coeur, aussi bien que l'entendement, refuse de l'admettre. Quelque chose doit exister quelque part, un brin de réalité doit être contenu dans ce monde. Ivresse du possible qui rachète la vie. Craignons le retombement et le retour du savoir amer...” ― Emil Cioran, Notebooks (Robert D. Levin rev. and compl.) / Use of the Requiem (wiki.) 19th-century musicians whose funerals or memorial services used Mozart's Requiem included Carl Fasch (1800); Giovanni Punto (1803); Joseph Haydn (1809); Jan Ladislav Dussek (1812); Giovanni Paisiello (1816); Andreas Romberg (1821); Johann Gottfried Schicht (1823); Carl Maria von Weber (1826); Ludwig van Beethoven (1827); Franz Schubert (1828); Alexandre-Étienne Choron (1834); Mme Blasis (1838); Ludwig Berger (1839); Frédéric Chopin (1849); Luigi Lablache (1858); Gioacchino Rossini (1868); Hector Berlioz (1869); and Charles Hallé (1895). 19th-century artists whose funerals or memorial services used Mozart's Requiem included Friedrich Schiller (1805); Heinrich Joseph von Collin (1811); Johann Franz Hieronymous Brockmann (1812); Johann Wolfgang von Goethe (1832); and Peter von Cornelius (1867). Among other 19th-century figures whose funerals or memorial services used Mozart's Requiem included Carl Wilhelm Müller (1801); Jean Lannes, 1st Duc de Montebello (1810); Princess Charlotte of Wales (1817); Maria Isabel of Portugal (1819); August Hermann Niemeyer (1828); Thomas Weld (1837); Napoleon (1840); John England (1842); John Fane, 11th Earl of Westmorland (1860); and Nicholas Wiseman (1865). / III. Sequence 2. Tuba mirum Tuba mirum spargens sonum per sepulcra regionum, coget omnes ante thronum. Mors stupebit et natura, cum resurget creatura, judicanti responsura. Liber scriptus proferetur, in quo totum continetur, unde mundus judicetur. Judex ergo cum sedebit, quidquid latet, apparebit, nil inultum remanebit. Quid sum miser tunc dicturus? quem patronum rogaturus, cum vix justus sit securus? /
Darn o rhaglen yn edrych yn ôl ar fywyd I. D. Hooson, gan ganolbwyntio ar bentref genedigol y bardd, Rhosllannerchrugog ger Wrecsam. Part of a programme looking back on the life of I. D. Hooson, focusing on the bard's birthplace, the village of Rhosllannerchrugog near Wrexham. Mae'r hawlfraint i'r archif yn berchen i ITV Cymru/Wales. Cedwir pob hawl // All Archive material remains the copyright of ITV Cymru/Wales. All rights reserved. Mae Archif ITV Cymru / Wales wedi ei leoli yn Llyfrgell Genedlaethol Cymru. Am fwy o wybodaeth ar sut i weld catalog yr archif cysyllter a (http•••) The ITV Cymru/Wales Archive is based at the National Library Of Wales. For more information on how to access the Archive Catalogue, please visit (http•••). Trydar: (http•••) Twitter: (http•••) Facebook - 'Archif Sgrin a Sain Cymru'
ou
- chronologie: Compositeurs (Amérique du Nord).
- Index (par ordre alphabétique): W...