Darius Milhaud Paul Claudel, Op. 427 Video
Ultimo aggiornamento
2024-04-28
Aggiorna
Diana Syrse Silvestre Revueltas Darius Milhaud Pech Cuevas Cob Barrière Guillén Clément Mao Takacs Axelle Fanyo Lebègue Polignac 1892 1899 1921 1926 1938 1940 1974 1984 2017 2020 2021
Concert filmed live from the Claude-Lévi Strauss Theater, Sunday, April 18, 2021 at 5:00 pm. (Fragment of the part I of Connected Identities) This concert-spectacle that combines voice and orchestra is built around a diptych by the Mexican singer and composer Diana Syrse, Identités Connectées, presented today for the first time in its entirety at the Musée du quai Branly - Jacques Chirac. The composer has chosen to write for her own soprano voice, and to situate this voice in a shifting landscape. Cultural landscape in the first part, which features a female character who, like Diana herself, tears herself away from her culture of origin to confront the violent identity games of our globalized world. The second part is a natural landscape that absorbs the first part into the great chain of life. Together these two parts remind us of the etymology of the word exist: to come out of oneself. Program : 1. Silvestre Revueltas +••.••(...)) Batik (1926) 2. Darius Milhaud +••.••(...)) Man and his desire (1921) based on an argument by Paul Claudel 3. Diana Syrse (*1984) Connected Identities (2017) texts from the Lacandon tradition, by Jorge Miguel Cocom Pech, Enriqueta Lunez, Briceida Cuevas Cob, Diana Syrse and Aleksi Barrière 4. Diana Syrse Part 1: Connected Identities Part 2: The Invention of Sex (2020, world premiere) Text by Aleksi Barrière 5. Silvestre Revueltas Sensemayá (1938) based on a poem by Nicolás Guillén (arrangement by Vincent Buffin) A production of the Cie La Chambre aux Echos directed by Aleksi Barrière and performed by the Secession Orchestra under the baton of conductor Clément Mao-Takacs. With the participation of Axelle Fanyo (soprano), Marion Lebègue (mezzo-soprano), Benjamin Alunni (tenor), Edwin Fardini (baritone). Secession Orchestra is in residence at the Fondation Singer Polignac. It is supported by the DRAC Ile-de-France/Ministry of Culture for structuring and by the Caisse des dépôts. La Chambre aux Echos has received the support of the Karolina Blaberg Stiftung More information on (http•••)
Diana Syrse Silvestre Revueltas Darius Milhaud Pech Cuevas Cob Barrière Guillén Clément Mao Takacs Axelle Fanyo Lebègue Polignac 1892 1899 1921 1926 1938 1940 1974 1984 2017 2020 2021
Concert filmed live from the Claude-Lévi Strauss Theater, Sunday, April 18, 2021 at 5:00 pm. (Part II of Connected Identities). This concert-spectacle that combines voice and orchestra is built around a diptych by the Mexican singer and composer Diana Syrse, Identités Connectées, presented today for the first time in its entirety at the Musée du quai Branly - Jacques Chirac. The composer has chosen to write for her own soprano voice, and to situate this voice in a shifting landscape. Cultural landscape in the first part, which features a female character who, like Diana herself, tears herself away from her culture of origin to confront the violent identity games of our globalized world. The second part is a natural landscape that absorbs the first part into the great chain of life. Together these two parts remind us of the etymology of the word exist: to come out of oneself. Program : 1. Silvestre Revueltas +••.••(...)) Batik (1926) 2. Darius Milhaud +••.••(...)) Man and his desire (1921) based on an argument by Paul Claudel 3. Diana Syrse (*1984) Connected Identities (2017) texts from the Lacandon tradition, by Jorge Miguel Cocom Pech, Enriqueta Lunez, Briceida Cuevas Cob, Diana Syrse and Aleksi Barrière 4. Diana Syrse Part 1: Connected Identities Part 2: The Invention of Sex (2020, world premiere) Text by Aleksi Barrière 5. Silvestre Revueltas Sensemayá (1938) based on a poem by Nicolás Guillén (arrangement by Vincent Buffin) A production of the Cie La Chambre aux Echos directed by Aleksi Barrière and performed by the Secession Orchestra under the baton of conductor Clément Mao-Takacs. With the participation of Axelle Fanyo (soprano), Marion Lebègue (mezzo-soprano), Benjamin Alunni (tenor), Edwin Fardini (baritone). Secession Orchestra is in residence at the Fondation Singer Polignac. It is supported by the DRAC Ile-de-France/Ministry of Culture for structuring and by the Caisse des dépôts. La Chambre aux Echos has received the support of the Karolina Blaberg Stiftung More information on (http•••)
Darius Milhaud Claudel Hélène Bouvier Heinz Rehfuss Igor Markevitch 1892 1900 1915 1974
Darius Milhaud +••.••(...)): Les Choéphores, Op.24, II partie de l'Orestie d'Eschyle. Texte de Paul Claudel (1915). 1. Vocifération funèbre (Coro, soprano) 2. Libation (soprano, coro) 3. Incantation (Coro, Oreste, Elettra) 4. Présages (Recitante, coro) 5. Exhortation (Recitante, coro) 6. La Justice et la Lumiére (Coro) 7. Conclusion (Recitante, coro). Geneviève Moizan, soprano Hélène Bouvier, Elettra Heinz Rehfuss, Oreste Claude Nollier, voce recitante. Chorale de l'Université Orchestre Lamourex, Paris diretta da Igor Markevitch. Cover image: paint by Pablo Picasso./ 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.
Oscar Arthur Honegger Christian Ferras Charles Marie Widor Vincent Indy Indy Claire Croiza David King Claudel Jacques Ibert Bach Benjamin Britten Darius Milhaud Francis Poulenc Britten Sinfonia 1892 1911 1916 1918 1921 1923 1926 1927 1932 1935 1936 1937 1940 1946 1955 2003
Arthur Honegger - Sonata for Solo Violin Violin - Christian Ferras ————————————————————————— Arthur Honegger (French: [aʁtyʁ ɔnɛɡɛːʁ]; 10 March 1892 – 27 November 1955) was a Swiss composer, who was born in France and lived a large part of his life in Paris. He was a member of Les Six. His most frequently performed work is probably the orchestral work Pacific 231, which was inspired by the sound of a steam locomotive. Born Oscar-Arthur Honegger (the first name was never used) to Swiss parents in Le Havre, France, he initially studied harmony and violin in Le Havre. After studying for two years at the Zurich Conservatory he enrolled in the Paris Conservatoire from 1911 to 1918, studying with both Charles-Marie Widor and Vincent d'Indy. He made his Paris compositional debut in 1916 and in 1918 wrote the ballet Le dit des jeux du monde, generally considered to be his first characteristic work. In 1926 he married Andrée Vaurabourg, a pianist and fellow student at the Paris Conservatoire, on the condition that they live in separate apartments because he required solitude for composing. Andrée lived with her mother, and Honegger visited them for lunch every day. They lived apart for the duration of their marriage, with the exceptions of one year from 1935 to 1936 following Vaurabourg's injury in a car accident, and the last year of Honegger's life, when he was not well enough to live alone. They had one daughter, Pascale, born in 1932. Honegger also had a son, Jean-Claude (1926–2003), with the singer Claire Croiza. In the early 1920s, Honegger shot to fame with his "dramatic psalm" Le Roi David (King David), which is still in the choral repertoire. Between World War I and World War II, Honegger was very prolific. He composed the music for Abel Gance's epic 1927 film, Napoléon. He composed nine ballets and three vocal stage works, amongst other works. One of those stage works, Jeanne d'Arc au bûcher (1935), a "dramatic oratorio" (to words by Paul Claudel), is thought of[by whom?] as one of his finest works. In addition to his pieces written alone, he collaborated with Jacques Ibert on both an opera, L'Aiglon (1937), and an operetta. During this time period he also wrote Danse de la chèvre (1921), an essential piece of flute repertoire. Dedicated to René Le Roy and written for solo flute, this piece is lively and charming, but with the same directness of all Honegger's work. Honegger always remained in touch with Switzerland, his parents' country of origin, until the outbreak of the war and the invasion of the Nazis made it impossible for him to leave Paris. He joined the French Resistance and was generally unaffected by the Nazis themselves, who allowed him to continue his work without too much interference. He also taught composition at the École Normale de Musique de Paris, where his students included Yves Ramette. However, he was greatly depressed by the war. Between its outbreak and his death, he wrote his last four symphonies (numbers two to five) which are among the most powerful symphonic works of the 20th century. Of these, the second, for strings, featuring a solo trumpet which plays a chorale tune in the style of Bach in the final movement, and the third, subtitled Symphonie Liturgique with three movements that evoke the Requiem Mass (Dies irae, De profundis clamavi and Dona nobis pacem), are probably the best known. Written in 1946 just after the end of the war, it has parallels with Benjamin Britten's Sinfonia da Requiem of 1940. In contrast with this work is the lyrical, nostalgic Symphony No. 4, subtitled "Deliciae Basilienses" ("The Delights of Basel"), written as a tribute to days of relaxation spent in that Swiss city during the war. Honegger was widely known as a train enthusiast, and once notably said: "I have always loved locomotives passionately. For me they are living creatures and I love them as others love women or horses." His "mouvement symphonique" Pacific 231 (a depiction of a steam locomotive) gained him early notoriety in 1923. The principal elements of Honegger's style are: Bachian counterpoint, driving rhythms, melodic amplitude, highly coloristic harmonies, an impressionistic use of orchestral sonorities, and a concern for formal architecture. His style is weightier and more solemn than that of his colleagues in Les Six. Far from reacting against German romanticism as the other members of Les Six did, Honegger's mature works show evidence of a distinct influence by it. Despite the differences in their styles, he and fellow Les Six member Darius Milhaud were close friends, having studied together at the Paris Conservatoire. Milhaud dedicated his fourth string quintet to Honegger's memory, while Francis Poulenc similarly dedicated his Clarinet Sonata. ————————————————————————— I, in no way, mean to make any money via my videos. I make them to allow others to discover classical music, and help them by (sometimes) providing sheet music.
o
- Le più grandi colonne sonore del film
- Opere essenziali: era moderna e contemporanea
- Indici (per ordine alfabetico): P...