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Maurizio Pollini Frédéric Chopin Friedman René Challan 1970 2001
Provided to YouTube by Warner Classics Polonaise in A-Flat Major, Op. 53 "Heroic" · Maurizio Pollini Chopin: Piano Concerto No.1 - 4 Nocturnes - Ballade No.1 - Polonaise No.6 ℗ 1970 Parlophone Records Limited, a Warner Music Group Company. Remastered 2001 Parlophone Records Limited, a Warner Music Group Company Producer: Marty Friedman Piano: Maurizio Pollini Producer: René Challan Producer: Suvi Raj Grubb Composer: Frédéric Chopin Auto-generated by YouTube.
Jeanine Rueff Challan Noël Gallon Busser Marcel Mule Chailley Eugène Bozza Pierre Max Dubois Dubois Jacques Ibert 1922 1945 1948 1950 1951 1954 1956 1960 1977 1988 1997 1999 2000
0:00 Chanson 1:38 Passepied Jeanine Rueff (5 February 1922 – c. September 1999) was a French composer and music educator. Rueff was born in Paris and studied at the Conservatoire de Paris with Tony Aubin, Henri Challan, Jean and Noël Gallon, and Henri Busser. In 1948 she won second place in the Grand Prix de Rome with Odette Gartenlaub. Rueff worked from 1950 as an assistant in the saxophone class of Marcel Mule and in the clarinet class of Ulysse Delecluse at the Conservatoire de Paris. In 1960 she became a teacher there for Solfège sight singing, and from 1977 to 1988 she taught harmony. Her most famous pupil was Jean-Michel Jarre. In 1945 Rueff received the Prix Favareille-Chailley-Richez for a jazz piano quintet. She also composed the chamber opera Le Femme d'Enée (1954), a concerto for four saxophones and a Symphonietta (1956). The ensemble Saxallegro (with Hannes Kawrza, saxophone, and Florian Pagitsch, organ) recorded her 1997 Chanson et Passepied together with works by Eugène Bozza, Pierre Max Dubois, and Jacques Ibert and the recording was issued on a CD. In 1999 she provided concert pieces for bass trombone in the program of the Concours International de Trombone in Guebwiller. Rueff was buried on 22 September 1999, and the saxophone quartet Ledieu 2000 gave a concert in her memory. (http•••) Christopher Creviston, saxophone Hannah Creviston, piano Source : (http•••) / Please subscribe to my channnel.
Pierre Rue Annie Challan Roger Bourdin André Sennedat Serge Collot Darius Milhaud André Jolivet 1460 1492 1518
00:00 Requiem (Missa "Pro Defunctis"): Introitus - Kyrie - Psalmus - Offertorium - Sanctus - Agnus Dei - Communio 23:55 Missa "Dolores Gloriose Recolentes¨ (Missa de Septem Doloribus): Kyrie - Gloria - Credo - Sanctus - Benedictus - Agnus Dei Polyphonic Ensemble of Paris - Charles Ravier, conductor Jocelyne Chamonin (soprano), Joseph Sage (counter-tenor) André Meurant (tenor), Georges Abdoun (bass) Annie Challan, Marielle Nordmann (small medieval harp) Roger Bourdin (flute, bass flute in C), Huguette Ehrmann (flute in G) Michel Sanvoisin (bass recorder), Émile Mayousse (English horn) André Sennedat (bassoon), Serge Collot (viola), Max Fouchet (trombone) We shall probably never know what Pierre de La Rue looked like. Very little has been discovered about him. He was born in Tournai in 1460, and the first written record of his name is in a document dated November 17, 1492. He was attached to the Burgundian Court for some years, and died on November 20, 1518. These are the basic facts that are known of his life. But the composer of the Missa pro defunctis and the Missa Dolores — recorded here was one of the most brilliant composers of the fifteenth century, one of those whose music reaches the hidden depths within us. Like his contemporary Josquin des Pres, Pierre de La Rue was a true representative of his time, when the Middle Ages, with their musical synthesis of several centuries of invention, anguish, and aspiration, were drawing to a close in the Western world, and when the vital force that had sprung up from the ruins of the Roman Empire began to lose impetus and eventually to make way for the Renaissance. De La Rue’s known works comprise songs, motets, and 36 Masses. In these latter, de La Rue often constructs his polyphony around a ‘cantus firmus’ taken from plainchant or popular song. This melodic theme, usually presented in long note values, reappears at intervals throughout the work and acts as a kind of pivot. The Dolores Mass is an example of this. Its “cantus firmus” quotes a sequence devoted to St. Mary of the Seven Sorrows. The Requiem Missa pro defunctis reveals the qualities that distinguish Pierre de La Rue from other musicians of his time: they are the qualities of a poet in somber tones, served by a subtle architect. His calm yet intense expression answers to the anxiety inherent in life itself. In what way was the interpretation of musical polyphony organized at that time? There are few written documents to help us here. Many pictorial representations of musical performance show groups of singers together with instrumentalists of all kinds; there are prescriptions for polyphony to be played on “all the instruments you like’; and we know that at all the courts, and the Burgundian court in particular, there were large numbers of instrumentalists among the musicians. All these facts and many more prove that one of the important facets of the musical taste of the time was the interest in instrumental sonorities, either alone or mingled with voices. However, we know hardly anything about how the instruments were used. Their distribution depended on local supply and on the development of practices and customs that are unknown today. For the present version, taking account of these historical data, we have gone to the original musical text in its varying aspects. We have tried to realize the marvelous complexity of this polyphony, of which the least that can be said is that it is the work of a master of his art, and one of the great masters of Art. From the French of Charles Ravier BIBLIOGRAPHY The most convenient English-language source for Pierre de la Rue is Music in the Renaissance by Gustave Reese. A valuable section of this book is devoted to the composer (indexed under L), with specific discussion of the Requiem and several other works. THE ARTISTS Charles Ravier is himself a Burgundian. He made his debut as a violist, but an increasing preoccupation with medieval and Renaissance music led him to form his own group, the Polyphonic Ensemble of Paris. With it he has performed at festivals throughout France — the concert performance of the de La Rue Requiem recorded here was given at the Festival of Mont Saint-Michel— and his work has been rewarded by prizes from the Académie Charles Cros and the Académie du Disque Francais. Ravier is also keenly interested in contemporary music: Darius Milhaud and André Jolivet have composed works specially for the Polyphonic Ensemble of Paris.
Georges Prêtre René Challan Francis Poulenc Orchestre Société Concerts Conservatoire 1965
Provided to YouTube by Warner Classics Les animaux modèles, Suite, FP 111b: V. Les deux coqs (Modéré) · Georges Prêtre/Orchestre de la Société des Concerts du Conservatoire Saint-Saëns:Symphony No.3/Caranaval des animaux/Les Animaux modèles ℗ 1965 Parlophone / Warner Music France, a Warner Music Group Company Conductor: Georges Prêtre Orchestra: Orchestre de la Société des Concerts du Conservatoire Balance Engineer: Paul Vavasseur Producer: René Challan Composer: Francis Poulenc Auto-generated by YouTube.
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