Émile Agnel Vidéos
Dernière mise à jour
2024-05-12
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Wolfgang Amadeus Mozart Agnel Jérôme Ducros Philippe Bender Bender Picard Keller Orchestre Régional Cannes Provence Alpes Côte Azur 1786 1879 1903 1905 2008
High resolution and stereo sound: (http•••) Wolfgang Amadeus Mozart Konzert für Klavier und Orchester in A KV 488, 2nd mvt. (Adagio) (Piano Concerto No. 23 in A Major, K. 488) In this video: Henri Agnel, oud Jérôme Ducros, piano Orchestre régional de Cannes Provence Alpes Côte d'Azur Philippe Bender Festival C'est pas Classique, Acropolis, Nice, France, 1 November, 2008 (Les 20 ans de Virgin Classics) Good ol' Mozart in some vivid local colors! I've heard Mozart's music interpreted in many different forms and styles over the years: techno, jazz, pop, new wave, and of course nursery rhyme. But this one is the only out-of-the-ordinary version that made me feel the edge of my seat. The challenge, of course, was to illustrate the oud improvisation of about 1 minute 45 seconds that is naturally not in Mozart's score. The most obvious choice was to go for some beautiful landmarks of Andalusia. But, having been born and raised in Istanbul, this performance evoked something more familiar and dear to me: the old Istanbul in all its spicy scents. I started searching for photos of about a century in the past. That's when Marc came to my aid with his little treasure: "Istanbul, Le regard de Pierre Loti", a book illustrated with the photographs taken in 1903-1905 by Pierre Loti (Julien Viaud, then commander in the French Navy and famous writer) and his officers Beaugé and Picard. These photos bring the old metropolis back to life right before one's eyes with strikingly lifelike effect. I used Loti's own image as my last slide, photographed at Topkapı Mezarlığı (Topkapı Cemetery), by the tombstone of Hatice, the love of his youth, who became the heroine of his first novel Aziyadé (1879); the photo was taken on 21 February 1905 by lieutenant Beaugé. I extend my sincerest gratitude to my dear Marc for working so hard to scan these images for me. - Eser. About Mozart's Piano Concerto No. 23 in A: "Concerto No. 23 in A Major, was composed in 1786, and is a graceful piece in three movements. It uses a small orchestra with 2 flutes, 2 clarinets in A, 2 bassoons, and 2 horns in A, along with the usual string orchestra." -James Greeson The structure is as follows: I. Allegro in A major and common time II. Adagio in F-sharp minor and 6/8 time III. Allegro assai in A and crossed common time 2nd movement according to James M. Keller: "It is one of the composer's most tragic statements. For Mozart, tragedy is not a matter of thunder, brimstone, and fist-shaking; quite to the contrary, it involves an intimate state in which innermost grief is laid bare. The piano opens this Adagio movement alone, playing a pensive theme. Its three-part texture is anything but sumptuous, and its minor-key contours are intensified near the end of the theme. The orchestra enters, with winds exhaling their languorous lines in counterpoint, sometimes doubled in the strings. The first of the winds so used is the clarinet, playing softly; the sound at this moment is quintessentially Mozartian (as, indeed, is the response by the bassoon). Following this, the piano, again on its own at first, offers a new episode, much in the same vein as the original theme but now seeming to weep in descending chromatic lines. Finally it is time for a touch of the major mode, and as the solo flute and first clarinet put on a brave face with their little melody, the second clarinet underscores the moment with another unmistakably Mozartian sound, playing triplet arpeggios in its low register. After working through the musical possibilities of his material, Mozart arrives at the coda. "Coda" actually means "tail," and in general a listener may assume that a coda will be a pleasant conclusion and little more. But Mozart was the grand master of the coda, and time after time his codas astonish us, serving as summations that magically intensify all that has come before. The coda of this Adagio is among his most affecting. The string section breaks into nervous pizzicatos, against which the piano utters only the barest outline of a melody. It is just the sort of passage that musicians schooled in performance practice may feel justified in elaborating, filling in its immensely wide intervals with scales or other ornamental passagework. And yet, playing Mozart's notes just as he wrote them seems also reasonable here; in their shocking nakedness they seem the very deconstruction of grief." You can read the whole article at: (http•••)
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- chronologie: Compositeurs (Europe).
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