Charlotte Dreyfus Video
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Johann Sebastian Bach Dag Jensen Jensen Christian Ferdinand Abel Zimmermann Stinson Johann Peter Kellner Dreyfus Peters Collegium Musicum Café Zimmermann 1079 1723 1729 1976 1991 2013
00:00 - I. Adagio 04:06 - II. Allegro ma non tanto 07:38 - III. Andante 09:54 - IV. Allegro moderato / Bassoon: Dag Jensen Harpsichord: Knut Johannessen Year of Recording: 2013 / "The sonatas for viola da gamba and harpsichord, BWV 1027–1029, are three sonatas composed by Johann Sebastian Bach for viola da gamba and harpsichord. They probably date from the late 1730s and early 1740s. Although the dating of Bach's three sonatas for viola da gamba and cembalo has presented problems for musicologists, because only an autograph score of the first sonata BWV 1027 survives, there is now general consensus that the works were written in Leipzig at some time in the late 1730s and early 1740s. Prior to that commentators had suggested that they dated from an earlier period when Bach was in Cöthen or even beforehand: the viola da gamba player Christian Ferdinand Abel was one of the court musicians of Prince Leopold at Cöthen. Bach moved to Leipzig as Thomaskantor in 1723 and in 1729 was appointed director of the Collegium Musicum, a chamber music society that put on weekly concerts at the Café Zimmermann. Other versions of BWV 1027 exist: there is a trio sonata for two transverse flutes and continuo (BWV 1039); as well as a trio sonata for organ in three movements. Russell Stinson has determined that the organ work, with the first two movements transcribed from BWV 1039/i and BWV 1039/ii and the last from BWV 1027/iv, is not by Bach but most probably by Johann Peter Kellner. In the late 1980s four new editions of the sonatas appeared, including the Urtext edition of Laurence Dreyfus for C.F. Peters; in a long accompanying text Dreyfus presented detailed arguments for the works to be dated to Bach's period in Leipzig. In a subsequent study of Bach's chamber music, Wolff (1991) came to the same conclusion and gave provisional dates for many of Bach's chamber music and concertos in his Leipzig period. No precedence had been given to BWV 1027 or BWV 1039, beyond the fact that long notes are easier to sustain on a transverse flute than a harpsichord. The dating of BWV 1027–1028 is explained in detail by Jones (2013) in his analysis of Bach's instrumental works. including his flute sonata in E major (BWV 1035), the triple concerto in A minor for flute, violin and harpsichord (BWV 1044) and the trio sonata for flute, violin and continuo from the Musical Offering (BWV 1079)." (Wikipedia) / COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Johann Sebastian Bach Dag Jensen Jensen Christian Ferdinand Abel Zimmermann Stinson Johann Peter Kellner Dreyfus Peters Collegium Musicum Café Zimmermann 1079 1723 1729 1976 1991 2013
00:00 - I. Adagio 01:59 - II. Allegro 05:43 - III. Andante 10:26 - IV. Allegro / Bassoon: Dag Jensen Harpsichord: Knut Johannessen Year of Recording: 2013 / "The sonatas for viola da gamba and harpsichord, BWV 1027–1029, are three sonatas composed by Johann Sebastian Bach for viola da gamba and harpsichord. They probably date from the late 1730s and early 1740s. Although the dating of Bach's three sonatas for viola da gamba and cembalo has presented problems for musicologists, because only an autograph score of the first sonata BWV 1027 survives, there is now general consensus that the works were written in Leipzig at some time in the late 1730s and early 1740s. Prior to that commentators had suggested that they dated from an earlier period when Bach was in Cöthen or even beforehand: the viola da gamba player Christian Ferdinand Abel was one of the court musicians of Prince Leopold at Cöthen. Bach moved to Leipzig as Thomaskantor in 1723 and in 1729 was appointed director of the Collegium Musicum, a chamber music society that put on weekly concerts at the Café Zimmermann. Other versions of BWV 1027 exist: there is a trio sonata for two transverse flutes and continuo (BWV 1039); as well as a trio sonata for organ in three movements. Russell Stinson has determined that the organ work, with the first two movements transcribed from BWV 1039/i and BWV 1039/ii and the last from BWV 1027/iv, is not by Bach but most probably by Johann Peter Kellner. In the late 1980s four new editions of the sonatas appeared, including the Urtext edition of Laurence Dreyfus for C.F. Peters; in a long accompanying text Dreyfus presented detailed arguments for the works to be dated to Bach's period in Leipzig. In a subsequent study of Bach's chamber music, Wolff (1991) came to the same conclusion and gave provisional dates for many of Bach's chamber music and concertos in his Leipzig period. No precedence had been given to BWV 1027 or BWV 1039, beyond the fact that long notes are easier to sustain on a transverse flute than a harpsichord. The dating of BWV 1027–1028 is explained in detail by Jones (2013) in his analysis of Bach's instrumental works. including his flute sonata in E major (BWV 1035), the triple concerto in A minor for flute, violin and harpsichord (BWV 1044) and the trio sonata for flute, violin and continuo from the Musical Offering (BWV 1079)." (Wikipedia) / COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Johann Sebastian Bach Dag Jensen Jensen Christian Ferdinand Abel Zimmermann Stinson Johann Peter Kellner Dreyfus Peters Collegium Musicum Café Zimmermann 1079 1723 1729 1976 1991 2013
00:00 - I. Vivace 04:56 - II. Adagio 10:39 - III. Allegro / Bassoon: Dag Jensen Harpsichord: Knut Johannessen Year of Recording: 2013 / "The sonatas for viola da gamba and harpsichord, BWV 1027–1029, are three sonatas composed by Johann Sebastian Bach for viola da gamba and harpsichord. They probably date from the late 1730s and early 1740s. Although the dating of Bach's three sonatas for viola da gamba and cembalo has presented problems for musicologists, because only an autograph score of the first sonata BWV 1027 survives, there is now general consensus that the works were written in Leipzig at some time in the late 1730s and early 1740s. Prior to that commentators had suggested that they dated from an earlier period when Bach was in Cöthen or even beforehand: the viola da gamba player Christian Ferdinand Abel was one of the court musicians of Prince Leopold at Cöthen. Bach moved to Leipzig as Thomaskantor in 1723 and in 1729 was appointed director of the Collegium Musicum, a chamber music society that put on weekly concerts at the Café Zimmermann. Other versions of BWV 1027 exist: there is a trio sonata for two transverse flutes and continuo (BWV 1039); as well as a trio sonata for organ in three movements. Russell Stinson has determined that the organ work, with the first two movements transcribed from BWV 1039/i and BWV 1039/ii and the last from BWV 1027/iv, is not by Bach but most probably by Johann Peter Kellner. In the late 1980s four new editions of the sonatas appeared, including the Urtext edition of Laurence Dreyfus for C.F. Peters; in a long accompanying text Dreyfus presented detailed arguments for the works to be dated to Bach's period in Leipzig. In a subsequent study of Bach's chamber music, Wolff (1991) came to the same conclusion and gave provisional dates for many of Bach's chamber music and concertos in his Leipzig period. No precedence had been given to BWV 1027 or BWV 1039, beyond the fact that long notes are easier to sustain on a transverse flute than a harpsichord. The dating of BWV 1027–1028 is explained in detail by Jones (2013) in his analysis of Bach's instrumental works. including his flute sonata in E major (BWV 1035), the triple concerto in A minor for flute, violin and harpsichord (BWV 1044) and the trio sonata for flute, violin and continuo from the Musical Offering (BWV 1079)." (Wikipedia) / COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Dreyfus Monk 1985 1997 2003 2020
Dhamma talk with Q&A session offered by Prof. Geshe Georges Dreyfus, about the influence of Ajahn Buddhadasa's teachings on his thinking, how Ajahn’s ideas helped him to understand the Dhamma in ways that are appropriate for a modern scientifically educated person and yet also completely respectful of the integrity of the Buddhist tradition. 'Modern Buddhist Practice: between secularism and traditionalism' (Reading Buddhadasa in the Himalayas) 1st February, 2020 +••.••(...)) Meditation Hall Buddhadāsa Indapañño Archives, Bangkok [Q&A session starts at 41:08] About Ajahn Georges Dreyfus: Prof. Georges Dreyfus spent fifteen years as a Buddhist monk before receiving in 1985 the title of Geshe, the highest degree conferred by Tibetan monastic universities. He then entered the University of Virginia where he received his Ph.D. in the History of Religions program. During these years, he has also been a translator for the Dalai Lama with whom he is personally acquainted. He is currently Professor of Religion of the Department of Religion at Williams College. He has published several books including "The Sound of Two Hands Clapping: the Education of a Tibetan Buddhist Monk" (Berkeley: University of California Press, 2003), and many articles on various aspects of Buddhist philosophy and Tibetan culture. He has been chair of the Religion department at Williams College and chair of the Tibetan and Himalayan Religions group of the American Academy of Religion. He is the recipient of various awards such as a National Endowment for the Humanities. Books by Prof. Georges Dreyfus (a selection): "Recognizing Reality: Dharmakirti and his Tibetan Interpreters" (Albany: SUNY Press, 1997) (http•••) "The Svatantrika-Prasangika Distinction" (Co-edited with Sara McClintock, Boston: Wisdom, 2003) (http•••) "The Sound of Two Hands Clapping: the Education of a Tibetan Buddhist Monk" (Berkeley: University of California Press, 2003) (http•••) - - ❖ - -
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