Stomu Yamashta Vidéos
musicien japonais
- instrument à clavier
- musique contemporaine
- Japon
- compositeur ou compositrice, musicien ou musicienne de jazz, percussionniste, claviériste
Dernière mise à jour
2024-05-16
Actualiser
Nagata Tanaka Kumagai Kawai Hori Yamamoto Yamashita Nakagawa Asahina Kubo 2021
This Video is made for the "Dance on the Box" TV program in the Leitrim Dance Festival 2021. Dancers coraborated with musicians virtually. Film Editor: Taro Nagata Director: Yasuko Teramachi Supported By : Comhaltas Ceoltóirí Éireann Japan / Musicians--- Kozo Toyota /Flute / Guitar Chihiro Tanaka /Button Accordion Marika Numashita /Fiddle Emiri Gondo /Fiddle / Dancers--- Akari Hyodo Daichi Ii Hitomi Parkin Hiroshi Jo Kumi Kumagai Lyn Seiko Kawai Madoka Hori Mika Yamamoto Miki Ohara Rieko Yamashita Takayuki Konishi Tomoko Maruda Yasuko Teramachi Yuika Nakagawa -Realta Nua Hiroshima- Machiko Ohoka Kyoko Kokenji Yukie Senda Noriko Kanenori Harumi Numa Yayoi Nishihara -Irish Dance Academy- Shinya Muramatsu Nanako Oto Ayami Asahina Kao Yomogida Chie Kurose -Morinomiya Set Dancers- KIRIN -HITOSHI KUBO ERIN-EIKO KUBO KENNY TERUMI KAZU KITTY NATUKA MIKO -Fergus Irish Dancers- Chiyoko Kumakura Koko Miyazawa Heqna Masae Aoki
Kazufumi Yamashita Yamashita Ottorino Respighi 2019
Provided to YouTube by Space Shower FUGA 交響詩「ローマの松」: IV. アッピア街道の松 [木村吉宏 編曲] · Kazufumi Yamashita · Osaka Shion Wind Orchestra · Ottorino Respighi レスピーギ 交響詩「ローマの松」 ℗ 2019 Fontec Inc. Released on: 2019-07-03 Music Publisher: Copyright Control Composer: Ottorino Respighi Arranger: Yoshihiro Kimura Auto-generated by YouTube.
Kazufumi Yamashita Yamashita Ottorino Respighi 2019
Provided to YouTube by Space Shower FUGA バレエ組曲「シバの女王ベルキス」: IV. 狂宴の踊り [木村吉宏 編曲] · Kazufumi Yamashita · Osaka Shion Wind Orchestra · Ottorino Respighi レスピーギ 交響詩「ローマの松」 ℗ 2019 Fontec Inc. Released on: 2019-07-03 Music Publisher: Copyright Control Composer: Ottorino Respighi Arranger: Yoshihiro Kimura Auto-generated by YouTube.
Beethoven Yamashita Franz Joseph Haydn Rulli Franz Schubert Mueller Lays Shakespeare Stark Weidinger Symphony Northwest Arkansas 1732 1770 1796 1797 1800 1804 1807 1809 1822 1827 1828 2009 2022 2023
PROGRAM: Coriolan Overture, Op. 62 - Ludwig van Beethoven (1770–1827) Yoshio Yamashita, conductor Trumpet Concerto - Franz Joseph Haydn (1732–1809) Allegro Andante Allegro Dr. Richard Rulli, trumpet INTERMISSION Symphony No. 8 in B minor ("Unfinished") - Franz Schubert (1797–1828) Allegro moderato Andante con moto PROGRAM NOTES YOSHIO YAMASHITA is a junior composition and percussion major at the University of Arkansas, studying percussion with Professors Chal Ragsdale and Fernando Valencia and composition with Dr. Robert Mueller. He will premiere a number of new works for small and medium sized ensembles in a recital this April. Yamashita plans to complete his degree in the spring of 2023 and attend a graduate program with a focus on orchestral conducting; he currently studies conducting with Professor Jeff Summers at the UA. DR. RICHARD RULLI holds degrees from the University of Wisconsin-Madison (DMA), Ithaca College (MM), and the University of Northern Colorado (BM/BME). At the University of Arkansas, he teaches trumpet and performs as a founding member of the Arkansas Brassworks, the UA faculty brass quintet in residence. In addition, he serves as Principal Trumpet of the Symphony of Northwest Arkansas and has also been a featured performer and clinician both nationally and internationally. Dr. Rulli is a 2009 University of Arkansas Faculty Gold Medal recipient for his support of students as a faculty mentor in performance and advising. CORIOLAN (Overture) According to legend, Gaius Marcius Coriolanus was a 5th century BCE Roman general, who having been banished from Rome, lays siege to the city at the head of an army of the Volsci. Both Shakespeare and the 19th century playwright Heinrich Joseph von Collin wrote plays commemorating the scene. In Shakespeare’s play, “Coriolanus,” the main character is murdered before the battle, but in von Collin’s play (written in 1804), Coriolanus is visited by his mother, who pleads with him not to attack the city, whereupon he commits suicide in desperation. Beethoven composed his overture in 1807 especially for a performance of von Collin’s tragedy. The stark opening of the overture immediately presents us with the hero’s dilemma: attack and destroy the city or surrender and die. The C minor main theme is said to represent the army’s warlike resolve and the E-flat major second theme represents the entreaties of his beloved mother. In the end, he gives in to tenderness and takes his own life rather than turn his back on the army he assembled. TRUMPET CONCERTO Before the development of valves in the modern trumpet, various attempts were made to add chromatic notes to the instrument, enabling it to play almost any melody. One of these efforts was a keyed trumpet developed by Anton Weidinger in the late 18th century. Though a little unstable, it was capable of producing all the chromatic notes throughout the range of the instrument. Haydn composed a concerto for Weidinger and his trumpet in 1796, though it took Weidinger four years to develop his technique to the point that he could play it, premiering it in 1800. Haydn’s dry wit and heightened sense of humor come to the fore throughout the opening movement of the concerto as the soloist slides and glides all over the full range of the instrument, with leaps and skips and passages that would make a violinist cower in fear, and then plays simpler fanfare-like passages as if Haydn is reminding us, “after all, it’s a trumpet!” The tender slow movement portrays Haydn’s lyrical mastery, and fully liberates the trumpet from its limited past. SYMPHONY No. 8 (“Unfinished”) Franz Schubert completed the two movements of what came to be known as his Symphony No. 8 in 1822, six years before his young life came to an early end; which begs the question, “why did he not finish it?” Theories abound, but the simple truth is that the two movements are such perfect and rare gems in and of themselves, that they require no additional efforts. Like two sides of the same coin, they examine different aspects of the same three-note motive: 1-2-3 or Do-Re-Mi (Do-Re-Me, in minor). The opening movement alternates between sombre melancholy and playful tenderness, with occasional deeply-felt passages laced with painful tragedy, especially in the development section. The andante second movement promises peaceful respite, but cannot completely escape from sorrow and anguish; Schubert’s loneliness and sadness are nearly constantly on display, even in the happier moments. One gets the impression that only in lonely walks through nature can he find solace - he even wrote to a friend, “I feel myself to be the most unhappy, the most wretched man in the whole world.” In this late pandemic era, as we assess all that has been lost, and grieve for the dearly departed, Schubert reminds us that we are not alone.
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