Arthur Honegger Mermoz Video
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2024-04-27
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Arthur Honegger Andes Georges Tzipine Concerts Conservatoire 1892 1900 1942 1955
Arthur Honegger +••.••(...)): Mermoz, suite tratta dalla colonna sonora del film di Louis Cuny (H. 167) (1942). 1. La traversée des Andes 2. Le vol sur l'Atlantique Orchestre de la Societé des Concerts du Conservatoire diretta da Georges Tzipine. Cover image: locandina del film Mermoz (1942)./ The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be apreciated.
Arthur Honegger Martenot Slovak Radio Symphony Orchestra Slovak Philharmonic 1943 1992
Slovak Radio Symphony Orchestra (Bratislava) Slovak Philharmonic Choir Jacques Tchamkerten, Ondes Martenot Recorded June, 1992 Tempête De Neige (Snowstorm) Ascension Et Chute (Rise And Fall) / Finale [12:18] Album: Honegger/Marco Polo Film Music Classics Film: (http•••) Liner Notes: The score, a real and important discovery, is conceived for large orchestra, without horns, but including two saxophones, Trautonium (Ondes Martenot), piano, harp, percussion and a wordless mixed chorus. The music is "realistic" and experimental for its period, at least as film music, and is built on extended ostinato accompaniments, precursor of today's minimalist techniques, and chromatically dissonant motif-cells. While Tempête has no leit-motiv, Ascension et Chute, to which a later cue, the final episode of Vision has been added, is built on a passacaglia-like theme, interrupted by recollections of the demonic sounds of the brass heard in Tempête, leading to a climax through a short, vertiginous cadenza for the Ondes Martenot. Again the passacaglia is heard, as a counterpoint to the hymn of the chorus, ending on the Mixolydian mode on D. Later, in 1943, Honegger would write Mermoz, another ambitious film score, similar in style and dramatic impact, making him once more the greatest, if hitherto unjustly neglected, European film composer of the first half of the twentieth century.
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