John Fane Vidéos
général de l'armée britannique
Commémorations 2024 (Naissance: John Fane)
- opéra
- Royaume-Uni de Grande-Bretagne et d'Irlande, royaume de Grande-Bretagne
- diplomate, compositeur ou compositrice, officier, personnalité politique, militaire
Dernière mise à jour
2024-05-13
Actualiser
Elwes Roger Quilter Cary Jacques Bouhy Henry Russell Agnes Nicholls Engelbert Humperdinck Handel Westmorland Charles Villiers Stanford Villiers Hubert Parry Kruse Edward Elgar Beethoven Harry Plunket Greene Greene Johannes Brahms Freed Ralph Vaughan Williams Thomas Dunhill Frank Bridge 1866 1885 1901 1903 1904 1912 1916 1921
The fine English tenor Gervase Elwes sings 'Cuckoo Song,' recorded c. June 1916. From Wikipedia:Gervase Henry Cary-Elwes, DL (15 November 1866 – 12 January 1921), better known as Gervase Elwes, was an English tenor of great distinction, who exercised a powerful influence over the development of English music from the early 1900s up until his death in 1921 due to a railroad accident in Boston at the height of his career. Elwes was born in Billing Hall, Northampton... Of the Northamptonshire and Lincolnshire landed gentry, he was educated at The Oratory School (a Roman Catholic school) and Woburn School, Weybridge, where he arrived in 1885, and finally at Christ Church, Oxford, where he was active as a cricketer and violinist. At the age of 22 he married Lady Winifride Mary Elizabeth Feilding... After Oxford he trained as a lawyer and diplomat, spending some years in Brussels, where he began his first formal singing lessons at the age of 28. However, he had to overcome a social convention which resisted a member of the upper classes becoming a professional singer, and it was not until the early 1900s, in his late thirties, that he gave his first professional performances in London. His principal teachers were Jacques Bouhy in Paris (1901–03), and in London Henry Russell and Victor Biegel, who remained his friend and teacher throughout his life. Bouhy asked him to decide between a baritone career in opera or a tenor career in oratorio and concert, and he chose the latter. His first professional appearance in London was opposite Agnes Nicholls, in Wallfahrt nach Kevlaar by Engelbert Humperdinck at the St James's Hall, with the Handel Society under J. S. Liddle in late April 1903, and immediately afterwards he appeared at the Westmorland Festival. In June 1903 he was auditioned at the Royal College of Music in London by Charles Villiers Stanford, who left the room and brought Hubert Parry in to hear him as well. The violinist Professor Kruse, who was then attempting to revive the Saturday 'Pops' at the St James's Hall jumped out of his chair and promptly engaged him, and it was Kruse who arranged for his first appearance in Edward Elgar's The Dream of Gerontius early in 1904 as an addition to his Beethoven Festival. Harry Plunket Greene, who had encouraged Elwes through this audition, also remained his lifelong friend. Elwes had a voice entirely in the English colouring, but with an unusual quality of sincerity and passion, and of considerable power. His diction and intonation were very secure, his delivery somewhat 'gentlemanly' but his phrasing long in conception and serving intense melodic inflections. His singing possessed a spiritual fervour... Victor Biegel, a 'little round, bald Viennese,' was for some time accompanist to the celebrated German lieder singer Raimund von zur-Mühlen and had a special understanding of the songs of Johannes Brahms, which he imparted to Elwes. There was a great rapport, and his teaching, especially during his six-month residence at Billing Hall (an Elwes estate) in 1903, completely freed and relaxed Elwes' voice, opening the way for the sustained power and brilliance of his upper register, and the vocal stamina which enabled him to maintain great oratorio roles (for which he was much in demand) with absolute conviction through a singing career of nearly two decades... But it was as singer of English art-song, and the friend of many leading English composers, that Elwes left his most permanent legacy. He was the dedicatee and first performer of (and the first person to record) Ralph Vaughan Williams song cycle On Wenlock Edge and many of the finest songs of Roger Quilter (including the cycle To Julia), both of whom wrote with his voice in mind. In 1912 he gave the first performance of Thomas Dunhill's song-cycle The Wind Among the Reeds for the Philharmonic Society. He had the wholehearted admiration of every generation from Charles Villiers Stanford to Frank Bridge, and their successors still acknowledge the authority of his influence. He was also a wonderful inspiration to leading British singers of his time, as their many private and published memorials testify... On 12 January 1921, Elwes was killed in a horrific accident at Back Bay railway station in Boston, Massachusetts, in the midst of a high-profile recital tour of the United States at the height of his powers. Elwes and his wife had alighted on the platform when the singer attempted to return to the conductor an overcoat that had fallen off the train. He leaned over too far and was hit by the train, falling between the moving carriages and the platform. He died of his injuries a few hours later. He was 54 years old. A week after the event, Edward Elgar wrote to Percy Hull, 'my personal loss is greater than I can bear to think upon, but this is nothing – or I must call it so – compared to the general artistic loss – a gap impossible to fill – in the musical world.'
Cecil Armstrong Gibbs Westmorland Weathers 1889 1943 1960
I. Moderato. ‘I will lift up mine eyes’ 00:00-11:20 II. Lento. 'Cartmel Fell' 11:20-21:15 III. Scherzo - Vivace con fuoco. 'Weathers' 21:15-27:05 IV. With complete serenity. 'The Lake' 27:05-35:00 Performed by the National Symphony of Ireland conducted by Andrew Penny.
This music is from a French-language production of Brecht's "The Good Person of Szechuan" directed by Antoine Laprise. The score was commissioned by Theatre du Trident in Quebec. Text: Au temps de l’amour et de la bonté Qu’on dit aujourd’hui bien dépassés J’adorais la vie, je voulais m’en aveugler Je cherchais le paradis et une vie de pureté Bien vite, j’ai eu ma leçon On perd la vue à trop chercher À connaître l’illumination Je l’ai connue. Je l’ai aimée. De toutes petites miettes qui rendent si heureux Malgré un destin toujours malheureux Il ne faudrait donc jamais cueillir le coquelicot Sous prétexte qu’il sera un jour fané? Moi je dis : Allons! Aspirons-la fumée noire Crachons-la vers les cieux gelés Bientôt nous aussi nous disparaîtrons. Autrefois je croyais que mon intelligence me sauverait J’étais optimiste autrefois Aujourd’hui je suis vieux, et je vois que j’avais tort L’intelligence peut-elle vraiment combattre la famine? Alors je dis: Allons! Aspirons-la fumée noire Crachons-la vers les cieux gelés Bientôt nous aussi nous disparaîtrons. On dit que les vieux n’aiment pas l’espoir Ce qu’ils veulent, c’est du temps, et le temps file On dit que pour les jeunes, les portes sont grand ouvertes Elles sont ouvertes sur le grand vide Comme les autres je dis: Allons! Aspirons-la fumée noire Crachons-la vers les cieux gelés Bientôt nous aussi nous disparaîtrons. In times of love and kindness Which, today, are said to be out of fashion I adored life, I wanted to be blind, I searched for paradise and a pure life Soon enough, I learned my lesson: One loses sight who searches too long To know the light I knew it, I loved it Of all the little crumbs that make one happy In spite of an ever-unhappy fate Must one never pick the poppy, With the excuse that it will one day wither? But I say: Let us go! Inhale the black smoke Blow it out toward the frozen sky Soon enough, we, too, will blow away In the past, I believed my intelligence would save me I was an optimist, in the past Now I am old, and I see that I was wrong Is intelligence any match for famine? But I say: Let us go! Inhale the black smoke Blow it out toward the frozen sky Soon enough, we, too will blow away It is said that old people do not like hope, That what they desire is more time, and time flies It is said that for the young all doors are wide open They are indeed open on the enormous void Like the others, I say: Let us go! Inhale the black smoke Blow it out toward the frozen sky Soon enough, we, too will blow away
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? /
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