Alan Woodrow Vidéos
Dernière mise à jour
2024-04-28
Actualiser
Beethoven Handel Haydn Alvarez Groves Karpov Carey Dutoit Tengblad McNamara Olsen Oliveira Sullivan Caldicott Woodrow Jacob Cooper Bradford David McFerrin McFerrin
Featuring: H+H Chorus Ian Watson, organ Text: Hallelujah! to the Father and the Son of God! Praise the Lord, ye everlasting choir, in holy songs of joy! Worlds unborn shall sing his glory the exalted Son of God! HANDEL AND HAYDN SOCIETY CHORUS SOPRANO Elissa Alvarez, Sarah Brailey, Maggie Finnegan, Elise Groves, Monica Hatch, Christine Jay, Suzanne Karpov, Rose Lewis, MaryRuth Lown, Elisabeth Marshall, Olivia Miller, Nacole Palmer, Margot Rood, Janet Ross, Carey Shunskis, Sonja DuToit Tengblad, Sarah Yanovitch ALTO Cody Bowers, Margaret Bridge, Doug Dodson, Katherine Growdon, Catherine Hedberg, Kim Leeds, Emily Marvosh, Clare McNamara, Caroline Olsen, Lindsay Pope TENOR Jonas Budris, Colin Campbell, Marcio de Oliveira, Ethan DePuy, Sullivan Hart, Eric Christopher Perry, Stefan Reed, Gene Stenger, Patrick T. Waters, Steven Caldicott Wilson, Gregory Zavracky BASS Glenn Billingsley, Woodrow Bynum, Jacob Cooper, Bradford Gleim, Harrison Hintzsche, Craig Juricka, David McFerrin, Peter Walker This program is made possible in part by the generous support of Carolyn and Dana Pope.
Sir George Dyson Minster Woodrow 2021
A warm welcome to the fifth of our Online Organ Recitals for the Autumn Term! We will be sharing an organ recital each Friday throughout the term, with a wonderful variety of music played by the Minster's regular recitalists Alexander Woodrow, David Houlder and Christopher Newton. We hope you enjoy these performances and look forward perhaps to welcoming you in person to a live recital at Leeds Minster in 2021! Today's programme consists of a single piece - but undoubtedly a masterpiece - by Sir George Dyson, played by Minster Sub-Organist David Houlder. Next Friday's recital will be given by Dr Christopher Newton, longstanding recitalist and friend of Leeds Minster. Like this recording, it will be shared at 1.00pm on this 'Music from Leeds Minster' YouTube channel. Our links: Subscribe to the YouTube channel 'Music from Leeds Minster': (http•••) Leeds Minster Website: (http•••) Leeds Minster Choir Facebook Page: (http•••)
Lennox Berkeley Woodrow Elgar Vaughan Williams Ravel Nadia Boulanger Poulenc Stravinsky Milhaud Britten Richard Rodney Bennett John Tavener Brian Ferneyhough Ivry Gitlis Wigmore Hall 1946 1947 1968 2021
James Woodrow - Violin Home recording 03/07/2021 Lennox Berkeley’s music does not show an obvious placement in the previous lineage of the British compositional style, stemming from composers such as Elgar and Vaughan Williams. Upon graduating from Oxford University, an encounter in Oxford with Ravel, who was impressed with Berkeley’s early compositional efforts, led Ravel to suggest he study in Paris with Nadia Boulanger. Berkeley’s time in Paris, not only studying with Boulanger, but mixing with composers such as Poulenc, Stravinsky, and Milhaud, gives his music a distinctive French flavour which sets him apart from his British contemporaries. After studies in Paris, a close friendship with Britten resulted in a joint collaborative orchestra work, Mont Juic. In the same year as composing the Introduction and Allegro, he took up the post of Professor of Composition at the Royal Academy of Music between 1946-1968; his students included Richard Rodney Bennett, John Tavener and Brian Ferneyhough. His compositional output includes works in all major genres, with his colourful compositional style making him an intriguing figure in twentieth century British music. Introduction and Allegro was dedicated to, and first performed by, Ivry Gitlis. Written in 1946, it had its premiere at the Wigmore Hall in 1947. The two musicians clearly worked closely on the piece, as Gitlis acted as editor, providing suggested bowings and fingerings in the published edition. The piece could be seen as providing a snapshot of Gitlis’ playing, as it was very likely written with his individual playing style in mind. The Introduction in particular has an improvisatory quality, which reflects Gitlis’ exploratory and fantasy-like approach to violin playing, which has made him one of the twentieth century’s most admired players. The Introduction starts with a bold and strident opening, with a rhythmic motif on just the one note. This statement appears four more times in the Introduction. Around this motif is a meandering and exploratory chromatic melody. The Introduction explores many different violin colours, using all four strings in different tessituras. The Allegro has a lively and restless character. Despite only one section of double stops, the writing is extremely harmonically colourful, showing Berkeley’s craft of tonality within the parameters of a solo violin work. The idiomatic violin techniques including harmonics, left hand pizzicato and ricochet bowing, as well as the general musical character, result in a playful conclusion to an initially serious introduction. If you enjoyed this recording please like and subscribe to my channel. I am more than happy to answer any questions about the repertoire I play, if I can, in the comments section below. My links Subscribe (http•••) Twitter (http•••) LinkedIn (http•••)
Antonio Vivaldi Bach Gustav Leonhardt Eduard Müller Frans Brüggen Pfeiffer Woodrow John Walsh Talbot Estienne Roger David Hertzberg Hertzberg Leonhardt Consort 1711 1928 1962 2012
#Bach #JSBach #Baroque #ClassicalMusic From the LP shown above, issued in 1962 on the Telefunken label. Performed by the Leonhardt-Consort: Gustav Leonhardt +••.••(...)), Anneke Uittenbosch, Eduard Müller, Janny van Wering, Herbert Tachezi (harpsichords); Frans Brüggen, Jeanette van Wingerden (recorders); Marie Leonhardt, Antoinette van den Hombergh, Walter Pfeiffer, Peter Schoberwalter (violins); Josef de Sordi, Wim ten Have (violas); Dijck Koster (cello); Lodewijk de Boer (viola); Fred Nijenhuis, Eduard Hruza, Anthony Woodrow (bass). Allegro (0:01) Largo (4:29) Allegro (6:37) L'Estro Armonico („Die harmonische Eingebung") ist der Titel eines Zyklus von zwölf Konzerten für Violinen und Streichorchester, den Antonio Vivaldi 1711 veröffentlichte, nachdem bis dahin von ihm nur Sonaten im Druck verfügbar waren. Das Werk wurde schon nach kurzer Zeit in London (durch John Walsh) und Paris (Le Clerce Cadet) nachgedruckt. Die Partitur ist durchweg achtstimmig notiert, für vier Violinen, zwei Violen, Violoncello und Continuo. Nach einem strengen Schema setzt das erste Konzert alle vier Violinen solistisch ein, das zweite zwei, das dritte nur die erste Violine - diese Folge wiederholt sich dann in den weiteren Konzerten. Hinzu tritt in einigen Konzerten (manchmal auch nur in Einzelsätzen) ein Solocello. Die Tonarten der Konzerte wechseln zwischen Dur und Moll ab, durch Vertauschung in den letzten beiden Konzerten endet der Zyklus aber in Dur. Dennoch wirkt der Zyklus nicht ganz einheitlich; er enthält offenbar auch einige ältere Werke, in denen Vivaldi seine Satzfolge, den Aufbau aus abwechselndem Ritornell und modulierender Solopassage und seine Instrumentalbehandlung noch nicht standardisiert hatte. So wirken die Kompositionen ungewöhnlich vielgestaltig und besitzen an vielen Stellen die Frische des „zum ersten Mal". Satztechnisch liegt den Kompositionen über weite Strecken ein rein dreistimmiger obligater Satz zugrunde; typisch ist, dass auch in den Konzerten für vier Violinen die Solostellen immer nur zwei Violinen und den Bass gleichzeitig einsetzen. L' estro armonico è una raccolta di dodici concerti opera 3 di Antonio Vivaldi. La strumentazione è di orchestra d'archi e un violino solista in 4 concerti, 2 violini solisti in altri 4 (2 di questi anche col violoncello) e altri 4 concerti per 4 violini solisti (anche in questo caso 2 concerti anche con il violoncello). Questi concerti ebbero uno strepitoso successo in tutta Europa, grazie ad essi il "Prete Rosso" fu per qualche anno il compositore più rinomato. Segnarono il passaggio dal concerto grosso al concerto solistico. Il musicologo Alfred Einstain a proposito di un passaggio del terzo movimento del concerto numero 8 scrisse: "è come se in una sala barocca porte e finestre si spalancassero all'improvviso e si respirasse una ventata d'aria fresca". Lo studioso vivaldiano Michael Talbot si spinse al punto di affermare che questi lavori sono "forse la più influente raccolta di musica strumentale apparsa nell'intero diciottesimo secolo". L'opera 3 fu pubblicata ad Amsterdam da Estienne Roger presumibilmente nel 1711. Roger, infatti, non includeva la data di pubblicazione, ma solo un numero d'ordine e inoltre reciclava i numeri di opere esaurite, come sembra sia capitato anche all'Estro Armonico. La sua uscita fu pubblicizzata con un annuncio sul The Post Man di Londra. L'opera fu ripubblicata in modo non autorizzata da John Walsh a Londra e a Parigi con l'improbabile titolo "Les Troarmonico". J.S. Bach, dopo la loro pubblicazione, trascrisse alcuni di questi concerti per clavicembalo solo (n. 9 e n. 12), per organo (n. 8 e n. 11) e per quattro clavicembali ed archi (n. 10). "David Hertzberg"
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