Arnold Schönberg Pierrot lunaire, Op. 21 Vidéos
- textes de Otto Erich Hartleben
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2024-04-22
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Pierre Boulez Arnold Schoenberg Jessye Norman Robert Franz Jacobsen Sylvie Gazeau Alain Marion Pierre Laurent Aimard Myers Arditi Ensemble Intercontemporain 1982 1993
Provided to YouTube by Sony Classical Gurre Lieder, Part I: 10. Lied der Waldtaube · Pierre Boulez · Arnold Schoenberg · Ensemble Intercontemporain · Jessye Norman Schoenberg: Erwartung, Pierrot Lunaire, Lied der Waldtaube from Gurrelieder ℗ 1982 Sony Music Entertainment Released on: 1993-06-15 Lyricist: Robert Franz Arnold Lyricist: Jens Peter Jacobsen Associated Performer: Jacques Ghestem Associated Performer: Sylvie Gazeau Associated Performer: Gerard Causse Associated Performer: Pierre Strauch Associated Performer: Marc Marder Associated Performer: Alain Marion Associated Performer: Michel Arrignon Associated Performer: Guy Arnaud Associated Performer: Didier Pateau Associated Performer: Robert Tassin Associated Performer: Jacky Magnardi Associated Performer: Gérard Perreau Associated Performer: John Wetherhill Associated Performer: Alain Planès Associated Performer: Pierre-Laurent Aimard Producer: Paul Myers Recording Engineer: Didier Arditi Recording Engineer: Benjamin Bernfeld Auto-generated by YouTube.
Ruggero Leoncavallo Colin Davis Pierre Boulez Bernard Haitink Pereira Richard Rodney Bennett Jaroslav Kyzlink Smetana Montgomery Philip Glass Biel Schoenberg Britten Gluck Tchaikovsky Opernhaus Zürich Theater Wien Zürcher Kammerorchester
BVOF Conductor Darren Hargan explains the Ruggero Leoncavallo masterpiece Pagliacci. Darren was born in Ireland, Darren Hargan trained with a full scholarship at the Royal Academy of Music in London. He subsequently received a Master’s degree in conducting from the Conservatorio della Svizzera Italiana where he studied with renowned contemporary music specialist Arturo Tamayo, and Professor of conducting at the Zürcher Hochschule der Künste Marc Kissoczy. He has also participated in masterclasses with Colin Davis, Colin Metters, Pierre Boulez and Bernard Haitink. After conducting the world premiere of Gerard McBurney’s opera The Airman’s Tale in London, he was appointed to the position of assistant musical director at the Internationales Opernstudio, Zurich, and was engaged as pianist and vocal coach at the Opernhaus Zürich under Alexander Pereira. As assistant conductor he worked at the Wexford Opera Festival with Stewart Robinson for Richard Rodney Bennett’s The Mines of Sulphur, and with Jaroslav Kyzlink for Smetana’s Hubička. Later he assisted Kenneth Montgomery for Don Giovanni at Le Grand Théâtre de Genève, and Philip Glass for his opera In the Penal Colony with the Zürcher Kammerorchester. As a guest he has worked at the Theater Luzern and Theater Biel-Solothurn. His operatic repertoire includes Hansel and Gretel, La Bohème, Lucia di Lamermoor, L’Elisir d’amore, La Cenerentola, Le nozze di Figaro and La finta giardiniera, With his own ensemble he has conducted Schoenberg’s Pierrot Lunaire and Verklärte Nacht as well as Britten’s The Rape of Lucretia, The Turn of the Screw and a new production of A Midsummer Night’s Dream in Switzerland and England for the Britten Centenary. He has also conducted many projects with period instruments including a new production of Gluck’s Armide with French classical instruments. He has conducted the Karlsbader Sinfonieorchester in music by Tchaikovsky and stepped in at short notice to conduct Il barbiere di Siviglia in Lugano with an all-star cast. Darren was the assistant conductor for the production of Der fliegende Holländer at the Summer Opera Festival in Selzach. He has most recently worked as guest pianist and assistant conductor at Theater an der Wien.
Lazare Saminsky Nemtsov Rimsky Korsakov Lyadov Schoenberg Stravinsky Serge Koussevitsky Pierre Monteux Willem Mengelberg Walter Damrosch Busch 1882 1910 1935 1940 1959 2000
Lazare Saminsky +••.••(...)) Three Shadows, Op. 41 Composed in 1935 Performed by Jascha Nemtsov (http•••)/ “Saminsky, a former fellow-student at St. Petersburg conservatory under Rimsky-Korsakov and Lyadov, officially banned from Moscow for participating in student protests, had a plentiful life. Blessed with inexhaustible energy, an enthusiastic temperament and exceptional versatility, he was a scholar, well-versed in mathematics, philosophy and languages, several of which he spoke fluently. He was a founding member of the Society for Jewish Music. He also took part in expeditions to collect folk songs and liturgical singing of the Caucasian Jews. An avid traveler, he stayed in Jerusalem before emigrating to the United States. There, shortly after his arrival, he founded the League of Composers. He was responsible for the American premiere performances of Schoenberg's Pierrot Lunaire and Stravinsky's Les Noces. Very committed to the music of younger American and Russian composers, he established the "New York Polyhymnia", an international concert association which goal was to "foster international exchange of unknown musical cultures and of unknown works, old and new." His own works, performed in the 20's under such conductor as Serge Koussevitsky, Pierre Monteux, Willem Mengelberg, Walter Damrosch, and Allan Busch, languished later on living an increasingly shadowy existence. Most of them are conspicuously programmatic in character. This is not always the result of a definite literary model, but is often the consequence of the unusually plastic and gestural quality of the music, whose freely rhapsodic language suggests the presence of a musical protagonist. After the Second World War, when a new generation of composers successfully raised their claims to avant-garde status, his music was dismissed as "not-up-to-date". Only now, at the turn of the century, it has become increasingly obvious that the creative impulses of early Modernism +••.••(...)) were often more original and fertile than any number of fashionable manifestations appearing during the subsequent era. Saminsky stayed in the US until his death in 1959. Saminsky composed his Three Shadows, the first for piano and the second for orchestra. The three Poems (so-called in the subtitle) are dedicated to the memory of the great American poet Edwin Arlington Robinson, and are an immediate response to the news of his death in August 1935. The prevailing mood is correspondingly somber, brightening only in the second movement. The second poem bears the title "A Poet", and a maxim from Robinson: "A singing voice then gathered and ascended, Filled the vast dome above till it glowed, With singing light." This light-filled music is framed by two movements which are darker in atmosphere. The first "Omen", is is set to a poem by Pitts Sanborn: "Seek not to turn al vintages to blood; Leave me one city, War, on a crown stream, The crumbling cornices, the dust, my dreams." The last "Poem" is a setting of Carl Sandburg's "Grass" and subtitled "A Dirge": "Pile up the bodies high at Austerlitz and Waterloo, Shovel them under and let me work - I am the grass; I cover all. And pile them high at Gettysburg. I am grass; let me work.“ Jascha Nemtsov. Liner notes for ACROSS BOUNDARIES: DISCOVERING RUSSIA 1910-1940, VOL. 3: WAITING ROOM, Jascha Nemtsov, EDA Records EDA 016-2, 2000, compact disc.
Lazare Saminsky Nemtsov Rimsky Korsakov Lyadov Schoenberg Stravinsky Serge Koussevitsky Pierre Monteux Willem Mengelberg Walter Damrosch Busch Kafka 1882 1910 1919 1940 1959 1999
Lazare Saminsky +••.••(...)) Ritual Dance on the Sabbath, Op. 26, No. 1 Composed in 1919 Performed by Jascha Nemtsov (http•••)/ “Saminsky, a former fellow-student at St. Petersburg conservatory under Rimsky-Korsakov and Lyadov, officially banned from Moscow for participating in student protests, had a plentiful life. Blessed with inexhaustible energy, an enthusiastic temperament and exceptional versatility, he was a scholar, well-versed in mathematics, philosophy and languages, several of which he spoke fluently. He was a founding member of the Society for Jewish Music. He also took part in expeditions to collect folk songs and liturgical singing of the Caucasian Jews. An avid traveler, he stayed in Jerusalem before emigrating to the United States. There, shortly after his arrival, he founded the League of Composers. He was responsible for the American premiere performances of Schoenberg's Pierrot Lunaire and Stravinsky's Les Noces. Very committed to the music of younger American and Russian composers, he established the "New York Polyhymnia", an international concert association which goal was to "foster international exchange of unknown musical cultures and of unknown works, old and new." His own works, performed in the 20's under such conductor as Serge Koussevitsky, Pierre Monteux, Willem Mengelberg, Walter Damrosch, and Allan Busch, languished later on living an increasingly shadowy existence. Most of them are conspicuously programmatic in character. This is not always the result of a definite literary model, but is often the consequence of the unusually plastic and gestural quality of the music, whose freely rhapsodic language suggests the presence of a musical protagonist. After the Second World War, when a new generation of composers successfully raised their claims to avant-garde status, his music was dismissed as "not-up-to-date". Only now, at the turn of the century, it has become increasingly obvious that the creative impulses of early Modernism +••.••(...)) were often more original and fertile than any number of fashionable manifestations appearing during the subsequent era. Saminsky stayed in the US until his death in 1959. Although not expressly mentioned in the title, "Danse rituelle du Sabbath" (or "Ritual Dance on the Sabbath") in unquestionably about a Hassidic Sabbath celebration for it is not customary to celebrate the Holy Sabbath by dancing. However, in Hasidism, prayer is an expression of joy and thus singing and dancing play an important role in worship. The Hasidim are especially well-known for their musicality. "Melodies are created... A miracle-working rabbi suddenly put his head down on his arms resting on the table and stayed like that for three hours while everyone else remained silent. When he woke up, he wept and then sang us a completely new and merry march." (Franz Kafka, Diaries) It is a "merry march" such as this in the "Aavo rabo" modus with the characteristic augmented second which the Hasidim are so fond of that one can hear as the theme in Saminsky's piece. This theme is varied several times whereby it alternates between pounding with heavy chords and shooting up like the tongues of flames.” Jascha Nemtsov. Liner notes for ACROSS BOUNDARIES: DISCOVERING RUSSIA 1910-1940, VOL. 2: THE NEW JEWISH SCHOOL, Jascha Nemtsov, EDA Records EDA 14-2, 1999, compact disc.
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