Thomas James Crawford Video
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John Dowland Julian Bream Griswold Dahl Ling Stringer Sanger Lawson Abbot Nielsen Scott Thompson Kline Travis 1500 1563 1624
In this episode I discuss the Music of Renaissance Songwriter and Lute virtuoso John Dowland +••.••(...)). Damien Kelly (http•••) Julian Bream - (http•••) Spring Sale: Get all educational products I have ever created in ONE bundle for just $99.99 ⇢ (http•••) To donate to the channel go here: (http•••) THE BEATO CLUB → (http•••) MY HELIX PRESETS →(http•••) SUBSCRIBE HERE → (http•••) For recurring support go here: (http•••) —————————————————————————————————————— My Links to Follow: YouTube - (http•••) Follow my Instagram - (http•••) —————————————————————————————— Special Thanks to My Supporters: Catherine Sundvall Clark Griswold Ryan Twigg LAWRENCE WANG Martin Small Kevin Wu Robert Zapolis Jeremy Kreamer Sean Munding Nat Linville Bobby Alcott Peter Glen Robert Marqusee James Hurster John Nieradka Grey Tarkenton Joe Armstrong Brian Smith Robert Hickerty comboy Peter DeVault Phil Mingin Tal Harber Rick Taylor Bill Miller Gabriel Karaffa Brett Bottomley Frederick Humphrey Nathan Hanna Stephen Dahl Scott McCroskey Dave Ling Rick Walker Jason Lowman Jake Stringer steven crawford Piush Dahal Jim Sanger Brian Lawson Eddie Khoriaty Vinny Piana J.I. Abbot Kyle Dandurand Michael Krugman Vinicius Almeida Lars Nielsen Kyle Duvall Alex Zuzin tom gilberts Paul Noonan Scott Thompson Kaeordic Industries LLC Duane Blake Kai Ellis Zack Kirkorian Joe Ansaldi Pzz Marc Alan Rob Kline Calvin Wells David Trapani Will Elrics Debbie Valle JP Rosato Orion Letizi Mike Voloshen Peter Pillitteri Jeremy Hickerson Travis Ahrenholtz
Beethoven Cummings Scarlatti Schumann 1770 1820 1823 1827 1835
Ludwig van Beethoven (baptised 17 December 1770 – 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the classical and romantic eras in classical music, he remains one of the most recognized and influential musicians of this period, and is considered to be one of the greatest composers of all time. Please support my channel: (http•••) Uploaded with special permission by Producer/Editor Peter Watchorn (http•••) Sonata No. 30 in E major, Op. 109 (1820) Dedication: Maximiliane Brentano 1. Vivace ma non troppo, sempre legato - Adagio espressivo (0:00) 2. Prestissimo (3:53) 3. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo (6:20) Penelope Crawford, fortepiano Conrad Graf, Wien, 1835 Description by Robert Cummings [-] By the time Beethoven composed this work, his output had declined substantially, perhaps owing to his deafness and disappointments in life. The only complete works to emerge from the period of 1820-1823 were the last three piano sonatas, the Missa Solemnis and the Ninth Symphony. Even when compared to these imposing works, the E major Piano Sonata retains its status of a masterpiece. It is a remarkable work in several respects. The first movement has a nearly unique structure: it opens with theme marked Vivace ma non troppo that almost immediately slows to an Adagio espressivo. Thereafter, the two contrasting tempos and utterances alternate. Scarlatti and Mozart had used such a scheme before, but never in such a bold and innovative fashion. On the surface, this short movement has a serene, almost angelic quality, but, like many other works written during this period, the composition's surface is merely one dimension among many. Indeed, nothing about this sonata is one-dimensional. Thus, for example, the subdued, brightly lit realm suggested by the beginning of the works eventually leads the listener to sections where the narrative slows down, conjuring up dark shadows that intimate feelings of longing and doubt. The second movement, given its sonata form structure would be typical of a Beethoven first movement if it were not for its terse development and extreme brevity. There are two subject groups in this Prestissimo, with the first led by an assertive theme that more than vaguely suggests Schumann's piano style. More subdued at the outset, the second subject generates tension and energy as it progresses. Following a brief development, an interesting reprise leads to a concise coda. The finale is twice as long as the previous two movements put together. It is a theme-and-variations scheme, whose main theme is marked Andante molto cantabile ed espressivo. The melody is beautiful, in style looking toward the Romantic movement that was then in its infancy. It is tranquil yet melancholy, pleased but valedictory. Some of the six variations generate further variations either through development (the third variation), or as a result of a two-tiered layout (the second variation). While the finale contains many lively moments, it is predominantly slow-to-moderate in tempo and generally subdued, gaining in confidence as the narrative proceeds. This movement concludes with the main theme played slowly and serenely. While the ending suggests a certain peaceful resolution of life's struggles and conflicts, it also reveals a feeling of resignation which is free of conflict and fear.
Ruth Crawford Seeger Seltzer Scriabin 1901 1924 1926 1930 1953 1991 2005
Sonata for Violin and Piano (1926) for violin and piano by Ruth Crawford Seeger +••.••(...)) 0:00 - Title 0:05 - Mvt. 1, Vibrante, agitato 5:11 - Mvt. 2, Buoyant 8:23 - Mvt. 3, Mistico, intenso 11:14 - Mvt. 4, Allegro Performers: Mia Wu, violin and Cheryl Seltzer, piano Recording: Ruth Crawford Seeger - Vocal and Chamber Music - A Continuum Portrait 6, Naxos 8.559197. 2005. Borrowing heavily from the harmonic language of one of Crawford's top influences Scriabin, the 1926 Sonata for Violin and Piano is a cornerstone example of the early Modernist style that Crawford was able to cultivate during what has been referred to her 'Early Period' in Chicago. Crawford uses freely constructed chords in her post-tonal language, combined with dense counterpoint, often complex rhythmic structures, and a lessoned emphasis on traditional formal structures. Additionally, the Sonata is one of the works that is often cited as being the start of her fast rise to the front of the burgeoning American Avant-Garde, often being performed at concerts dedicated to modern music in the early 20th century. Sources Lewis, David. "Ruth Crawford Seeger Biography." Peggy Seeger. (http•••) Tick, Judith. "Ruth Crawford's 'Spiritual Concept': The Sound-Ideals of an Early American Modernist, 1924-1930." Journal of the American Musicological Society 44, 2 (Summer 1991): 221-261. Request a video here: (http•••) The videos on this channel are intended solely for educational purposes. I do not own the rights to the score or the performance. If, for any reason, any person or entity feels that this video is in violation of their copyright, please contact us immediately at •••@••• before submitting a copyright claim to YouTube, and we will do our best to remove the video as soon as possible.
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- cronologia: Compositori (Europa).
- Indici (per ordine alfabetico): C...