Olivier Patey Video
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2024-05-18
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John Lemmoné Adelina Patti Nellie Melba Amy Sherwin Ignacy Jan Paderewski Pablo Sarasate Allan James Foley Foley Charles Santley Mark Hambourg Williamson Covent Garden Albert Hall Metropolitan Opera 1861 1888 1889 1893 1894 1896 1897 1907 1910 1911 1949
The Ballarat-born Australian flautist JOHN LEMMONE, a protege of Melba's, playing Mozart with another Melba protege, harpist Ada Sassoli, in New York in 1910. The play the FIRST (allegro) MOVEMENT (only) of Mozart's CONCERTO FOR FLUTE AND HARP. From wikipedia: "JOHN LEMMONE (22 June 1861 – 16 August 1949; also seen as John Lemmoné) was an Australian flute player and composer who was largely self-taught and who at the age of 12, paid for his first flute with gold he had panned himself on the goldfields at Ballarat. He had an international career as a soloist, and accompanied well-known singers such as Adelina Patti, Nellie Melba and Amy Sherwin, the pianist Ignacy Jan Paderewski, and the violinist Pablo de Sarasate. Later in his career he became Nellie Melba's manager. He married Isabella Stewart in 1889 and over the next few years he again toured, with singers Janet Patey, Allan James Foley and Charles Santley, and violinist Pablo de Sarasate. Lemmone renewed his acquaintance with Nellie Melba in London in 1894. By this time, Melba was very well known in Europe, having sung at Covent Garden in 1888 and the Metropolitan Opera in 1893, and his contact with her further advanced his career. He accompanied her with flute obbligatos at fashionable social gatherings and at Queen's Hall, London. He also performed with Adelina Patti in Albert Hall, toured with her and in 1896 with Amy Sherwin in South Africa. When he returned to Australia in 1897, he changed career path and began work as a manager for international artists, including pianists Mark Hambourg and Paderewski as well as Melba. He also selected internationally known performers for the 1911 J. C. Williamson opera season. He continued to perform, however. At a reception held for him after his return from Europe, he performed so well that a critique in "The Sydney Morning Herald" reported: "... the varying moods of the dreamy undulating motions of the Nautch girl's dance or the swirling rhythm of the Hungarian dance, the piquant action of the mazurka, the majestic sweep of a Russian hymn, the delightful trill of the nightingale, and the restless fluttering of the butterfly in a garden of roses are delineated by Mr Lemmone with a sweetness of expression and accuracy of tone, even in the most difficult bravura passages, that cannot fail to charm the hearer." ADA SASSOLI was a young harpist when she accompanied several of Melba's tours in the first decade of the twentieth century, and she recorded with Melba on the Victor label in New York in 1907. This is another track to which frequency response deficiencies have been corrected by means of the spectral analysis "waterfall" graph being used as a guide to the control of peaks and dips by means of digital graphic and parametric equalisers. The record has a degree of wear (not surprising, considering its age) and there is some remnant distortion as a result, but I'm generally happy with this transfer. The recorded balance between the harp and the flute was not too good, so that Lemmone is heard far better than Sassoli's harp. Another disc from the Frank Puls collection - some of the music that he loved.
Jan Ingenhoven Olivier Patey Buys Mottl 1876 1909 1912 1913 1918 1920 1926 1930 1951
Jan Ingenhoven +••.••(...)) Kammermusik in fünf Sätzen : voor klarinet en strijktrio (1926) Trio Lumaka Olivier Patey, clarinet Jan Ingenhoven was a Dutch composer and conductor. He studied with Brandts Buys in Rotterdam and later with Mottl in Munich, where he conducted the Munich Madrigal Society from 1909 to 1912. This was a famous ensemble of soloists which made many concert tours under his direction. By conducting the Munich Orchestra Association and organizing music festivals he introduced a great deal of contemporary Dutch and French music into Germany. In 1913 Ingenhoven retired as a performing artist to devote himself primarily to composition. During World War I he resided in Switzerland and Paris. After 1930 he retired as a composer and returned to the Netherlands. Ingenhoven's preferred genres changed over time. During his first period in Munich he wrote orchestral works alongside pieces for chorus, vocal quartet and solo voice; before World War I he devoted himself to string quartets and from then until 1918 he composed chamber music for various trio combinations. In the years around 1920 he wrote the sonatas for violin and for cello and the final period was taken up with works for solo instruments within small ensembles. Ingenhoven inherited certain stylistic elements from 16th-century music. His early works were always conceived polyphonically. Paired duets, imitation and polyrhythm are outstanding characteristics, especially in the vocal works from the Munich period. His song 'Nous n'irons plus au bois' (1909) from the 4 quatuors à voix mixtes, which Ingenhoven claimed to be the first atonal vocal work by a Dutch composer, is a brilliant example of this style. In the chamber works Ingenhoven's style became even more exclusive through a combination of the polyphonic elements and a new homophonic approach, with tonally indefinite chords, subtle dynamics and delicate timbre. He devised cantilena-like melodies, quasi-improvised as if he wanted to create Jugendstil in music. Although he used cellular motivic technique, the structure of his works always tends towards symmetry.
Gershwin Daniel Harding Olivier Patey Concertgebouw Orchestra Royal Concertgebouw Orchestra 2015
Famous opening of the Rhapsody in Blue, Gershwin Royal Concertgebouw Orchestra, Daniel Harding, Stefano Bollani, Olivier Patey Concertgebouw Amsterdam, 12.06.2015
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