Marius Constant Video
direttore d'orchestra, compositore
Commemorazioni 2024 (Morte: Marius Constant) 2025 (Nascita: Marius Constant)
- opera, musica classica, balletto
- Romania, Francia
Ultimo aggiornamento
2024-04-28
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Debussy Ravel Bach Shostakovich Ramos Cayabyab Bautista Sims Montenegro 1830 1909 2021
Bedroom Concerto #1 2021, Dominic Laxamana. All rights reserved. In partial fulfillment of the requirements of MuP 196 Playing time: 47 minutes Bedroom Concerto #1 is a seven-movement opus for orchestra, granulated samples, and synthesized melodic and percussion instruments. It is a work that can be performed live in the concert hall, but due to limited resources accentuated by the Covid-19 lockdown, the recording for my graduation recital is created with MIDI programming and sampled playback. The accessibility of computer programs and recording equipment allows one to create his/her own cost-efficient large work created specifically for listening at home or on the go. The melodic weaving between synthesizer presets and orchestra is an extension of the impressionist orchestration innovated by Debussy and Ravel. Klangfarbenmelodie (tone-color melody) is also incorporated. Melodic synthesizers are assigned modulating timbres for smoothly shifting instrumentation via mod wheel automations. Regarding other elements of music, polyrhythms are used to create time-based textures. Chromaticism is employed for tonal obfuscation. The structure of the piece is a dialogue between musique concrète and a more familiar convention of orchestral music. A recurring motif, based on the pelog scale of the Indonesian gamelan, is heard throughout the whole opus in various transmutations. The theory of evolution serves as my narrative basis, with a specific focus on mankind’s struggle to live in harmony with nature. I. Prologue (02:17) The first movement prologue starts in the key of G# minor but the latter part is a musique concrète work created with the same orchestral renderings of the first part of the prologue, only to be cut, stretched, spliced, pitch-shifted, and filtered through various granular synthesizer effects (I used Hadron Granular Synthesizer). II. Sonata (06:45) Keeping with the tradition of symphonies and concertos (though not placed as the first movement), a sonata form in D# minor takes form as the second movement. III. Interlude 1 (18:30) The third movement, a concrète interlude, still utilizes the same orchestral samples as the prologue, but spliced and pitch shifted to anticipate motifs of the other movements (such as the subject of the succeeding fugue). The interlude ends with samples that are spliced to mimic the interlocking patterns of the Philippine gangsa commonly heard in the Cordillera highlands. IV. Fuga (23:56) The fourth movement is a fugue in C# minor. The contrapuntal basis for the fugue has a subject and three countersubjects. The four voices are spread across the performing groups. Instead of keeping a constant time signature like the fugues of Bach and Shostakovich, this fugue has shifting time signatures with callbacks to established motifs. The structure of the movement is one mise-en-scène exposition and eleven episodes of free counterpoint interjected with several codettas and strettos. V. Interlude 2 (34:16) The fifth movement, which is the second concrète interlude, is a recap of the primordial listening of the previous concrète sections after an exhibition of harmonies that humans have evolved to develop and appreciate. The inclusion of this interlude is a mere reflection of humanity being a synthesis of the past and present, whose future is determined by both its willpower and its uncontrollable probabilities. VI. Time Mandala (37:04) The sixth movement, Time Mandala, is chronologically the first conceived movement of the concerto. It is based on a derived pelog scale of the Indonesian gamelan and the idea had been expanded into the other orchestral movements. VII. Epilogue (48:16) The final movement is a concrète epilogue that features the whole orchestral recording of the prologue, albeit the recording being spliced and reversed, signifying the work has come full circle. Credits: Public domain clips provided by Pixabay.com Public domain photos of the cosmos by NASA Bob’s Electric Theatre (1909), dir. Segundo de Chomón Recital poster by Patricia Ramos Instagram: (http•••) Facebook: (http•••) Acknowledgements: UP College of Music, Diliman, Quezon City UP CMu College of the Office Secretary UP Conemus Prof. Josefino “Chino” Toledo Dr. Verne de la Peña Dr. Maria Christine Muyco Dr. Marie Jocelyn Marfil Prof. Mary Katherine Cabral Dr. Jonas Baes Dr. Beverly Shangkuan-Cheng Ms. Cristina Maria Cayabyab Kuya Jec Bautista Sims family Bongosia family Montenegro family Dr. Rodel Noreli E. Lorenzo Dr. Albert Magcalas Mang Fred’s MusiKolektibo Mga tambay sa gilid ng College of Music Last but not least, my family
Johann Christian Bach Bach Jean Pierre Rampal Pierre Pierlot Gérard Jarry Serge Collot Karl Friedrich Abel Christian Ferdinand Abel Burney Frederick Great 1735 1764 1768 1772 1776 1781 1782
00:00 Quintet No. 2 in G major: Allegro - Allegro assai 06:00 Quintet No. 5 in A major: Allegretto - Tempo di Minuetto 11:30 Quintet No. 1 in C major: Allegretto - Andantino - Minuetto con variazione 21:39 Quintet No. 6 in D major: Allegro - Andantino - Allegro assai 31:29 Quintet No. 3 in F major: Andante - Rondo (Allegretto) 38:14 Quintet No. 4 in E flat major: Andante - Minuetto - Allegro Flute: Jean-Pierre Rampal / Oboe: Pierre Pierlot French String Trio: Gérard Jarry, violin / Serge Collot, viola / Michael Tournus, cello Johann Christian Bach’s activities in London were not limited to the composition of Italian operas. In the English capital he met again a former pupil of his father’s: the viola da gamba player and composer Karl Friedrich Abel. It was for the latter’s father, Christian Ferdinand Abel, a member of the Coethen orchestra, that Johann Sebastian had composed his Suites for unaccompanied cello. In London Johann Christian joined forces with the son, Karl Friedrich, and founded a concert society. They were joint directors from 1764 to 1781, and Abel continued for a while after Johann Christian’s death. They gave a concert every week and, as Burney tells us, "as their own compositions were new and excellent, and the best performers of all kinds, which our capital could supply, enlisted under their banners, this concert was better patronised and longer supported than perhaps any one had ever been in this country; having continued for full twenty years with uninterrupted prosperity.’ Johann Christian was among the first to play the pianoforte publicly in London (June 2, 1768). He and Abel thus presented themselves as performers and composers at the same time. When the eight-year-old Mozart arrived in London in 1764 he found Johann Christian concert director, harpsichord teacher to Queen Charlotte, accompanist to the King (who, like Frederick the Great, played the flute), and music master to the royal children. Mozart listened with all his ears to the new compositions of the two German masters who were then setting the tone of English musical taste, and even copied some of them out. (It is known that the Symphony in E flat major, K. 18, formerly attributed to Mozart, is actually by Abel.) Several sets of works have come down to us in which Johann Christian employs wind instruments, sometimes alone and sometimes in combination with strings. Opus 11 — six quintets for flute, oboe, violin, viola, and bass — was published by Welcker in London about 1776. The Quintet in D major, Op. 22 has the same instrumentation. Other works include a Quintet in F major for oboe, violin, viola, cello, and harpsichord, four wind quintets published in Dublin after the composer’s death and known as Military Pieces, and six Sinfonias for two clarinets, two horns, and bassoon usually regarded nowadays as arrangements. Mrs. Papendieck’s diary recounts an episode in Johann Christian’s life about 1776. "John Bach’ was in the habit of playing every Thursday at her house with the Queen’s chamber musicians, and he and Abel would take turns to compose something for these gatherings. One day, having forgotten that it was his turn, Johann Christian sat down before dinner and composed "a ravishing first movement for a quintet in E flat major"; two copyists wrote out the parts at his dictation as the work proceeded. This was the origin of the fourth Quintet of Opus 11. The completed set was dedicated to Karl Theodor, Elector Palatine at Mannheim, where Johann Christian had enjoyed a real triumph with his Temistocles in 1772, and where he presented Lucio Silla in 1776. The dedication of the Quintets read as follows: "Your Highness’s benevolent approval of my efforts at Mannheim has given me infinite satisfaction. Music and the fine arts, supported by your favor and guided by your taste and the thoughtful strength of your judgment, flourish there with unsurpassed vigor. Your Highness’s new command gives me the greatest joy. I am also eager to offer Your Highness this modest token of my constant gratitude for the consideration you have been pleased to accord me.”
Paul Hindemith Weber Paul Sacher Yan Pascal Tortelier Tortelier Stevenson Basler Kammerorchester Bbc Philharmonic 1895 1923 1935 1938 1943 1951 1963
Paul Hindemith (16 November 1895 – 28 December 1963) was a prolific German composer, violist, violinist, teacher and conductor. In the 1920s, he became a major advocate of the Neue Sachlichkeit (new objectivity) style of music. Notable compositions include his song cycle Das Marienleben (1923), Der Schwanendreher for viola and orchestra (1935), and opera Mathis der Maler (1938). Hindemith's most popular work, both on record and in the concert hall, is likely the Symphonic Metamorphosis of Themes by Carl Maria von Weber, written in 1943. Please support my channel on (http•••) Symphonie „Die Harmonie der Welt“ (The Music of the Spheres) Dedication: Geschrieben für Paul Sacher und das Basler Kammerorchester zum fünfundzwanzigsten Geburtstag des Orchesters I. Musica Instrumentalis (0:00) II. Musica Humana (10:42) III. Musica Mundana (20:30) BBC Philharmonic conducted by Yan Pascal Tortelier Description by Joseph Stevenson This symphony is drawn from an opera about Johannes Kepler, the great astronomer who deduced the laws of orbital motion. Kepler was looking for the exact, perfect geometrical forms / circles, squares, equilateral triangles, and the like, that he believed must describe planetary motion. He called concept "The Harmony of the Universe, " (in German, Harmonie der Welt). Ironically, he discovered that there are no such relationships concerning spacing of the planets, and also that they move not in circular but in elliptical orbits, and not even at constant speeds. The symphony has three movements, "Machine Music, " "Human Music, " and "World Music." The three movements progressively seek to illuminate higher and higher spheres of musical/astrological imagery and musical purity. The music itself is high-minded and seeks to be free from human passions (except the passion for enlightenment), and seems at times to glow with an inner radiance.
"It's like having a conversation with yourself," is how Heifetez alum and Notes By the Bay founder Hannah Tarley describes the first of American composer John Harbison's "Songs of Solitude." The composer wrote the pieces for his wife, the noted violinist Rose Mary Harbison, and notes, "The first song often returns to its initial idea, always to go a different way; the constant lyrical outward flow is balanced by a refrain line that occurs twice." 00:12 Introduction by Hannah Tarley 01:39 John Harbison: Song 1 from Songs of Solitude Hannah originally shared this performance during the July 1 Alumni Showcase program on Rubato: The Heifetz Virtual Concert Hall: To view the entire program: (http•••) To find out more about Notes By the Bay: (http•••) Find out more about the Heifetz Institute at (http•••). Full schedule of online concert events: (http•••)titute/RubatoSchedule To apply: (http•••) Subscribe to us on YouTube here: (http•••)titute/YouTube Follow us on Facebook: (http•••) Follow @HeifetzMusic on Instagram: (http•••) Follow @HeifetzMusic on Twitter: (http•••) #hannahtarley #songsofsolitude #soloviolin #johnharbison
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- cronologia: Compositori (Europa). Direttori d'orchestra (Europa).
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