John Clifford Heed Video
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2024-05-11
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Jonathan Biss Beethoven Mock Heed
It's one thing to master a sonata by the legendary composer, Beethoven. But it's another thing entirely to completely embody the grand pianist himself. In the Audible Original, Unquiet, world renowned pianist Jonathan Biss does just that, and almost loses himself in the process. About this Audible Original: "Beethoven is a humanist, and an arsonist." In his vivid and profound addition to Audible’s Words + Music series, Jonathan Biss, the world renowned pianist and critical Beethoven interpreter of our time, expounds on the spellbinding hold the classical figure and his work possesses over him. Biss doesn’t just love Beethoven more than other music, he loves it more than most things. It’s the lens through which he understands the world, and has been since he can remember. But in Unquiet Biss reveals the full extent to which Beethoven is also a ruthless lens through which he views himself. Biss provides listeners front and center access to his long overdue confrontation with a painful truth: Living with Beethoven has essentially amounted to severing all meaningful ties with himself. As we learn in rich detail, amidst the treasures Beethoven’s music has gifted Biss also lies searing self-doubt and heaps of crippling anxiety. Biss’s raw self-reflection is delivered through pitch-perfect prose, delving deep into the fascinating paradox that the greatest pleasure in his life is also responsible for imprisoning him. Beethoven’s defining personal characteristic, for example—his unwavering self-conviction and weapons-grade callousness—only served to mock Biss’s own perceived shortcomings and vulnerabilities. This captivating combination of wit and wisdom Biss readily shares is only interrupted by something even more extraordinary—his new interpretations of movements from seven of Beethoven's sonatas, including the Pathetique and Tempest, and his groundbreaking, awe-inducing final sonatas. Unquiet both begins and ends with Jonathan Biss staring down the daunting complexity and infinite majesty of Beethoven's last piano sonatas. But between these two points, the singular pianist has traversed a world of healing. An immeasurable weight has been lifted from him—by him. And we have witnessed its dramatic rise. While his journey is a fantastically unique one, if we listen close, we can hear ours too. An endless battle to confront and quiet our greatest pain so that we can embrace something even greater. Take a moment, and heed the sound. Listen to Unquiet My Life with Beethoven by Jonathan Biss: (http•••) Download the Audible app: (http•••)k/uj7ifbvhm29rg Subscribe to our channel: (http•••) Follow Audible on Twitter: (http•••) Follow Audible on Instagram: (http•••) Follow Audible on Facebook: (http•••) About Audible: Audible is the world’s largest producer and provider of spoken-word entertainment and audiobooks, offering customers a new way to enhance and enrich their lives every day. Audible content includes more than 525,000 audio programs from leading audiobook publishers, broadcasters, entertainers, magazine and newspaper publishers, and business information providers.
Sofia Gubaidulina Molinari Messiaen Shostakovich Natalia Gutman Oleg Kagan Heed 1705 1722 1931 1981 1988
Rejoice! sonata for violin and cello (1981) [Радуйся! (Raduysya!)] [Freue dich!] Composer: Sofia Gubaidulina (b. 1931) Performers: Frédéric Bednarz, violin; Pierre-Alain Bouvrette, cello (from Quatuor Molinari) I - Your joy no man taketh from you: 0:00 II - Rejoice with them that do rejoice: 2:49 III - Rejoice, Rabbi: 7:28 IV - And he returned into his house: 17:05 V - Listen to the still small voice within: 22:46 / "The background to Sofia Gubaidulina's Rejoice!, as Laurel Fay's sleeve-note informs us, is in the spiritual lessons of Grigory Skovoroda, an eighteenth-century Ukrainian philosopher and religious thinker. These supply the sub-titles (rather Messiaen-like in resonance) of each of the five movements. The composer herself cautions, ''It should not be assumed that I wanted to illustrate the theme of joy in my music… the religious theme is experienced metaphorically''. It is meant to be experienced musically as well, through the juxtaposition of 'normal' sounds and harmonics: 'The possibility for string instruments to derive pitches of various heights at one and the same place on the string can be experienced in music as the transition to another plane of existence. And that is joy.' " Source: (http•••) "The title of the substantial sonata for violin and cello, Rejoice! (also known as Raduysya! and Freue dich!), ought not be taken literally, the music less expression of outward joy than metaphoric contemplation upon its stated theme. Composed in 1981 and premiered in 1988 by its dedicatees, Natalia Gutman and Oleg Kagan, at Kuhmo in Finland, each of the work’s five movements takes its title from an aphorism by the Ukrainian religious philosopher Hryhorii Skovoroda +••.••(...)) who embraced the simple life and sympathized with the underprivileged. 'Your joy no one will take away from you' (I) opens with the solo violin meditating upon a handful of high notes that alternate with harmonics. The cello then rises up from its depths, eventually matching its partner with a harmonic of its own. The two don mutes in 'Rejoice with joy' (II), whose chromatic, humming figures suggest a pair of insects buzzing around one another. In 'Rejoice, Rabbi' (III), the solo cello’s grinding low clusters, flailing tremolos, harmonic double stops and pizzicato chords establish wild contrast in technique and mood as the movement’s organizing principle. A frenzied violin cadenza collapses into a magical moment — perhaps the work’s heart — in which ethereal double-stop harmonics sing like a distant choir of heavenly voices. The ponderous 'And he returned to his own abode' (IV) traces a gradual descent from the stratosphere of pitch where glacial tones in the violin combine with wind-like whistling in cello harmonics. 'Heed thyself' (V) offers by far the most overtly joyful music in the sonata, a rhythmically-precise, energetic figure in the violin playing out over a drawn-out chant in the cello. Earthly joy in the form of giddiness thus makes an appearance — but has not the last word: a coda steers us back into a world of introspection, the 'still small voice within' surely finding expression in the concluding soft chord in harmonics." ~Robert Rival Source: CD booklet / For education, promotion and entertainment purposes only. If you have any copyrights issue, please write to unpetitabreuvoir(at)gmail.com and I will delete this video.
I Fagiolini John Wilbye Monteverdi Robert Hollingworth Heed 1598 1609 2022
From the album, John Wilbye - Madrigals from books 1 +••.••(...)) Release April 1, 2022 to buy / pre-order from (http•••) / To welcome the spring, British ensemble I Fagiolini puts aside its beloved Monteverdi to uncover its own national heritage: the best of John Wilbye's classic Golden Age madrigals. Whilst his oeuvre may have been small (just 75 works that we know of and most just a couple of minutes long), time and again, in these exquisite cameos, Wilbye delivers what might be reckoned the ultimate madrigal experience. The plangent dissonance of ‘Draw on, sweet night’ and ‘Weep, weep, mine eyes’ perfectly evoke English melancholy, while ‘Sweet honey-sucking bees’ and ‘Adieu, sweet Amaryllis’ are such sheer pleasure to sing that many listeners will scrabble to unearth old scores. This album is, in a nutshell, 75 minutes of madrigalian bliss! Rediscover or enjoy anew this central part of English choral culture, strangely out of fashion for so long, sung by a group that has matured into the repertoire like a good wine. I Fagiolini Robert Hollingworth Album Track Listing 1. Draw on, sweet night 2. Weep, O mine eyes 3. Adieu, sweet Amaryllis 4. Sweet honey-sucking bees / Yet, sweet, take heed 5. Thou art but young 6. Cruel, behold my heavy ending 7. I live, and yet methinks / There is a jewel 8. I love, alas! yet am not loved 9. Oft have I vowed 10. Down in a valley / Hard destinies 11. When shall my wretched life 12. O what shall I do? 13. Love not me for comely grace 14. Happy, O happy he 15. There where I saw 16. Lady, your words do spite me 17. O wretched man 18. Ye restless thoughts 19. Lady, when I behold 20. Thus saith my Cloris bright 21. Weep, weep, mine eyes 22. Flora gave me fairest flowers 23. All pleasure is of this condition 24. Of joys and pleasing pains / My throat is sore 25. Where most my thoughts / Despiteful thus #madrigals #choralculture #ifagiolini
STREAM NOW! Links below! Spotify (http•••) Apple Music (http•••) Song/Vocals by @CG5 @Elsie Lovelock as Mommy Long Legs @Nola Klop as Poppy Playtime Backup vocals by @CG5 & @Kathy-chan ★ Animation by @KaylinYGO Follow CG5's social media: Twitter (http•••) Twitch (http•••) Spotify (http•••) Instagram (http•••) Follow @CG5LIVE, @CG5 Instrumentals, @CG5Covers, & @CG5Clips Discord Server (http•••) Logo Intro by aven (http•••) LYRICS: Is it too late to change my mind? That's not for you to decide, I won't heed to your design. Never been safe, Momma's sins follow behind. Every hill I'm meant to climb, Every swing, and every rise, Caught up in a web of lies, No more time. Hush my love, My darling child, Mommy's here. Hush my love, My darling child, Mommy's here. Is it too late to change my mind? I have given my all, done all you like. But playtime's never over, So I go deeper down, Through the nursery of demons, Wash the giant enemy spider out. Is cheating allowed? Every hill I'm meant to climb, Every swing, and every rise, Caught up in a web of lies, No more time. Hush my love, My darling child, Mommy's here. Hush my love, My darling child, Mommy's here. Hush my love, My darling child, Mommy's here.
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- cronologia: Compositori (Nord America).
- Indici (per ordine alfabetico): H...