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Schoenberg Johann Strauss II Dene Ian Munro Fiona Campbell Connor Dowling Dyson Boland Australia Ensemble 2011
Theatre in Music: Surrealist Dreams and Sydney Harbour Johann Strauss II, Kaiser-Walzer Opus 437 arr. Schoenberg Australia Ensemble UNSW Saturday April 16, 2011, Sir John Clancy Auditorium UNSW Geoffrey Collins, flute; Catherine McCorkill, clarinet; Dene Olding, violin; Dimity Hall, violin; Yvette Goodchild, viola; Julian Smiles, cello; Ian Munro, piano; Fiona Campbell, mezzo soprano; Connor Dowling, dancer/choreographer; Mark Dyson, lighting designer Video: Patrick Boland; Audio: ABC Classic FM
Australia Ensemble Beethoven Franz Berwald Louise Farrenc Schumann Shostakovich Brahms Elena Kats Chernin Jean Françaix Carl Vine Robert Macfarlane 2020
Now forty years young, the Australia Ensemble sets its eyes on a season celebrating Beethoven’s Semiquincentennial or 250th birthday. Our 2020 season is about visionaries, with Beethoven as the central pillar, performing a range of his mature works as well as lesser-known works to round out the experience. We also explore the sort of eclectic programming and diverse instrumental combinations for which the ensemble is well-renowned, in addition to uncovering some less-familiar gems by nineteenth century composers Franz Berwald and Louise Farrenc. From the canon of established master-pieces we revel in Schumann’s highly-favoured Piano Quartet as well as the supremely dramatic Shostakovich Piano Quintet and the elegiac and heartfelt Brahms Horn Trio. Elena Kats-Chernin’s dramatic Velvet Revolution (written for the same combination of instruments) is about the fall of the Berlin Wall and the ensuing dramas and turmoil, and is one of six Australian pieces programmed, including a newly commissioned work by young Sydney-based composer Holly Harrison whose energetic compositions reference popular music forms that have excited ensembles all around the world. But not everything is as serious as a Beethoven marble statue: there is plenty of opportunity for light and shade. Levity abounds in the music of Jean Françaix, heard twice in our season, while we are also delighted to reprise Carl Vine’s witty and much-loved Café Concertino, a piece the Australia Ensemble has performed all around the world. We are also happy to welcome Robert Macfarlane to share our stage, whose light and flexible tenor voice is renowned for its clarity and diction, and he is well known for his dramatic performances. We invite you to enjoy this season and share in our vision and thank you, our audience, for your great support and passion. Paul Stanhope Artistic Chair Saturday 14 March, 8pm | Australia Ensemble@UNSW Subscription Concert, Storm and Tempest Saturday 18 April, 8pm | Australia Ensemble@UNSW Subscription Concert, Contrasts Saturday 30 May, 8pm | Australia Ensemble@UNSW Subscription Concert, Shadows and Light Saturday 15 August, 8pm | Australia Ensemble@UNSW Subscription Concert, Café and Concert Hall Saturday 26 September, 8pm | Australia Ensemble@UNSW Subscription Concert, Dreamers and Visionaries Saturday 24 October, 8pm | Australia Ensemble@UNSW Subscription Concert, A Song Before The Storm All concerts will be held in the Sir John Clancy Auditorium UNSW.
Heartbeat for Flute, Clarinet, Piano, two Violins, Viola and Cello by Jessica Wells 2019 Commissioned and premiered by the Australia Ensemble @UNSW September 14, 2019Sir John Clancy Auditorium UNSW Paul Stanhope’s program of “Heart” and “Beat” for the Australia Ensemble was such an interesting concept that I took it very literally and wrote a piece about actual human heartbeats. I wanted to examine the tempo of our hearts in different stages of being, and write music that explored the emotions we feel that are inextricably linked to our physical selves. The piece is in three main sections. The opening section has three tempos (90BPM, 160BPM and 120BPM) which are typical of the stages of a growing fetus. The baby’s tiny heartbeat begins with a very high piano pulse which ends up being surrounded by of a lot of kaleidoscopic movement, depicting the growing and multiplying cells, the magic of human development. At different points the pulse is passed around different instruments in the ensemble, and longer melodies are heard emerging from the texture, sometimes solo or in pairs. The quote from Kate Morton exemplifies the emotional side of this movement, the baby and mother’s heartbeats are intertwined and the love of the mother embraces the child within as it grows. The second section explores the slow heart rate (55BPM) of deep sleep. The viola begins this meditative and hypnotic section by providing a pulse on Aflat while the flute and clarinet play melodically above. The other strings join into this pulse while a short cello pizzicato motif is echoed by a muted piano, and later on echoed again in the flute. This motif represents the slight rise in heartrate when we reach the dream state. A fluttering tremolo string pulse is then established, allowing a bed of sound for the piano to solo over. REM sleep is full of dreams and I often dream of music. The quote from Kevin Brockmeir explores how music envelops us and how a lullaby can bring on the peace of sleep. The third section explodes, as do our hearts when we first fall in love! The quote from the chorus of the 2014 song “Heartbeat” by the band Husky is where I derived my inspiration! It’s like a freight train bearing down on you, and the music obviously references that feeling in its hammering piano ostinato. The music becomes ever more optimistic as it ends, bringing all of the instruments together on the same pulse by the last bar. HeartbeatI - Fetal Heartbeat 1 - A fetal heartbeat starts at between 90 and 110 bpm during the first weeks of pregnancy.It will increase and peak at around weeks 9 to 10, between 140 and 170 bpm.After that, a normal fetal heartbeat is considered between 110 and 160 bpm in the second and third trimester. “She used to say that the human heartbeat was the first music that a person heard,and that every child was born knowing the rhythm of her mother's song.” ― Kate Morton, The Clockmaker's DaughterII 2- Nocturnal Heart Beat During the first sleep cycles, your body relaxes and your blood pressure and heart rate drop.Your lowest heart rate happens at the midpoint of sleep when the amount of melatonin is at its highest. “A successful song comes to sing itself inside the listener. It is cellular and seismic, a wave coalescing in the mind and in the flesh.There is a message outside and a message inside, and those messages are the same, like the pat and thud of two heartbeats,one within you, one surrounding.The message of the lullaby is that it’s okay to dim the eyes for a time, to lose sight of yourself as you sleep and as you grow:if you drift, it says, you’ll drift ashore: if you fall, you will fall into place.”― Kevin Brockmeier "These Hands” 3 - Falling in love - triggers the fight or flight reaction in the body. Epinephrine and norepinephrine are released into the bloodstream when the adrenalmedulla in the brain releases catecholamines.This triggers the heart to beat faster and that is why you can feel it pumping away when you are attracted to someone. "Heartbeat laying the tracks of a railroad Coming on like a big train splitting me in two I lie there splayed out like a highway Heading straight for the unknown hoping I'll find you." - Husky
Hnat Khotkevych Ukrainian Bandurist Ensemble Australia Ensemble 1978
Допомогти проекту "Золотий фонд української естради", нашому каналу і Радіо Українська Пісня: (http•••) Сторінка на сайті Patreon: (http•••) 1978, ASR – 2600 (LP) Ансамбль бандуристів ім. Гната Хоткевича – Кобза і пісня / Hnat Khotkevych Ukrainian Bandurist Ensemble – Bandura and Song 1. Край козачий (муз. П.Деряжного, сл. В.Масляка) 2. Ой у полі вишня (народня пісня) 3. Кучерява Катерина (жартівлива) 4. Слава Отаману (муз. П.Деряжного) 5. Тече вода каламутна (народня любовна, обробка П.Деряжного) 6. Тріпак (пісня/танець, обробка Д.Піки) 7. Кобза і пісня (муз. П.Деряжного, сл. А.Юриняка) 8. Добрий вечір, дівчино (жартівлива, обробка П.Деряжного) 9. Ой, там коло млина (жартівлива, обробка І.Антоновського) 10. Коломийка (інструментальна) 11. Дід та баба (гумореска) 12. Засвистали козаченьки (козацька пісня) Бандуристи: Петро Деряжний, Ніла Деряжна, Лідія Деряжна, Петро Чокула Дванадцятиструнна гітара: Віктор Маршал Контрабас: Петро Ілик Звукорежисер і продюсер: Петро Ілик Художник і дизайнер обкладинки: Леонід Денисенко Фотограф: Bernard Messequer Recorded at Air Sound Recording Studios, Canberra, Australia Ensemble’s address: 6 William str., Cambridge Park, 2750, Australia
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