Orchestre National De Lorraine Videos
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Reynaldo Hahn Hahn Bernhardt Magda Tagliaferro Graham Johnson Jules Massenet Orchestre National Lorraine 1212 1502 1874 1930 1947 1961 2002 2006 2020
Reynaldo Hahn (August 9, 1874 – January 28, 1947) was a Venezuelan, naturalized French, composer, conductor, music critic, diarist, theater director, and salon singer. Best known as a composer of more than 100 songs, he wrote in the French classical tradition of the mélodie. He was close friends with Marcel Proust and Sarah Bernhardt amongst many others. Please support my channel: (http•••) Piano Concerto in E major (1930) Dedication: à Magda Tagliaferro 1. Improvisation: Modéré très liberement (0:00) 2. Danse: Vif (12:12) 3. Rêverie (15:02), Toccata (23:00) et Finale Angelyne Pondepeyre, piano and Orchestre National de Lorraine conducted by Fernand Quatrocchi Graham Johnson writes that Hahn "was never truly of the twentieth century"; he was for many years regarded chiefly as evoking the spirit of fin de siècle Paris. He was not in sympathy with the more obviously modern music of the early decades of the 20th century, but he moved with the times. According to a 2020 analysis: Trained in the canons of Late Romanticism by his mentor and patron Jules Massenet, he succeeded in adjusting his style to the modernity of the Années folles, composing musical comedies with echoes of jazz, foxtrot and Argentinian tango, making masterly use of the saxophone and the piano in his orchestra … a catalogue of compositions ranging from chamber music – the sublime Piano Quartet and Piano Quintet – to ballet and the orchestral repertory. Hahn's biographer Jacques Depaulis writing in 2006, comments that many composers suffer a period of neglect after their deaths and are then rediscovered, a process known in France as "la traversée du désert" – crossing the desert. In 1947 a British newspaper remarked that Hahn "is hardly remembered today outside the boundaries of France". In 1961, 14 years after the composer's death, the musicologist Hans Heinz Stuckenschmidt dismissed Hahn as "a talented gossip who had a gift for grinding out operettas and little, tastefully performed ballads in limitless quantities". In the last decades of the 20th century there was a revival in interest in Hahn's music: Johnson (2002) refers to "an ever-widening range of his mélodies to be heard regularly on the concert platform".
Johann Carl Gottfried Loewe Kupiec Jacques Houtmann Felix Mendelssohn Orchestre National Lorraine 1796 1827 1869
Carl Loewe, Piano Concerto No.2 in A-major 1. Allegro maestoso 2. Espaniola andante grazioso 3. Rondo vivace Eva Kupiec, piano Orchestre National de Lorraine Jacques Houtmann, conductor Johann Carl Gottfried Loewe (German: [ˈløːvə]; 30 November 1796 – 20 April 1869), usually called Carl Loewe (sometimes seen as Karl Loewe), was a German composer, tenor singer and conductor. He is less known today, but his ballads and songs, which number over 400, are occasionally performed. On 20 February 1827, he conducted the first performance of the 18-year-old Felix Mendelssohn's Overture A Midsummer Night's Dream, Op. 21. He and Mendelssohn were also soloists in Mendelssohn's Concerto in A-flat major for 2 pianos and orchestra.
Orchestre National Lorraine 2013
Bande Annonce du documentaire "Orchestre National de Lorraine, Un ambassadeur à Venise" réalisé par Alicia Hiblot & Orianne Valloo. Première diffusion dimanche 7 juillet à 20h30. www.mirabelle.tv Mirabelle TV - Juillet 2013
Baldini Witold Lutosławski György Ligeti Edgard Varèse Miranda Cuckson Bingen Bowles Elizabeth Watts Watts Wolfgang Amadeus Mozart Diego Masson Loebel Ingo Metzmacher Sibelius Munich Radio Orchestra Scottish Chamber Orchestra Orchestre National Lorraine American Composers Orchestra Memphis Symphony Orchestra Salzburg Festival Arsenal Metz 1752 1883 1913 1918 1923 1927 1965 1978 1985 1989 1993 1994 2006 2008 2009 2012 2021
To download/purchase/stream: (http•••) Release Date on Centaur Records (on CD & all digital platforms): August 6, 2021 Christian Baldini (1978-) 1 Elapsing Twilight Shades (2008, rev. 2012) 7:26 Witold Lutosławski +••.••(...)) Chain 2 (1985) Dialogue for Violin and Orchestra (17:52) 2 I Ad libitum 3:47 3 II A battuta 4:57 4 III Ad libitum 4:37 5 IV A battuta 4:31 György Ligeti +••.••(...)) Concerto for Violin and Orchestra (1989, rev.1993) (28:57) 6 I Praeludium 4:11 7 II Aria, Hoquetus, Choral 8:00 8 III Intermezzo 2:31 9 IV Passacaglia 6:39 10 V Appassionato 7:36 Edgard Varèse +••.••(...)) 11 Amériques +••.••(...), rev. 1927) 23:26 TOTAL PLAYING TIME 77:41 Munich Radio Orchestra, Christian Baldini, conductor (1) UC Davis Symphony Orchestra, Christian Baldini, conductor (2-11) Maximilian Haft, violin (2-5) Miranda Cuckson, violin (6-10) Unedited Live Recordings 1 „Award Concert Weekend of the Nestlé and Salzburg Festival Young Conductors Award“ - Felsenreitschule, Salzburg Festival, April 29, 2012. (Salzburg, Austria) ORF Recording Team: Hannes Eichmann (Recording Producer), Hannes Gstrein (Recording Engineer) 2-11 Mondavi Center for the Performing Arts at UC Davis. Recording Engineer: Stephen Bingen 1-11 Mastering Engineer: David Bowles Photos: (c) wildbild (Munich Radio Orchestra & Christian Baldini), (c) Sam Zeng (UC Davis Symphony Orchestra & Christian Baldini), (c) J Henry Fair (Miranda Cuckson), Christian Henking (Maximilian Haft) Cover design by Erin Low Notes About the Program ~ by Christian Baldini This CD production was conceived during the COVID-19 global pandemic and it is natural that it might project a certain melancholy for some memorable live performances that are close to my heart. Live music has stopped around the globe. Orchestras and opera houses are currently dark and empty, and it is thanks to recordings from years past that so many music lovers around the world manage to keep this powerful flame alive. My previous CD recording was a studio production (not a live recording), featuring the Scottish Chamber Orchestra and soprano Elizabeth Watts in opera overtures and arias by my first love: Wolfgang Amadeus Mozart. It feels absolutely natural to me to complement that recording with this very contrasting one, featuring unedited live recordings of a few works by composers that have been very influential to me as an artist, both as a performer and as a composer. Elapsing Twilight Shades was composed for the Orchestre National de Lorraine (nowadays the Orchestre National de Metz) in France in 2008 and it premiered that summer by that orchestra conducted by Diego Masson at the Arsenal in Metz. The work was later selected for the American Composers Orchestra young composers scheme (Earshot) and performed (with some revisions) by the Memphis Symphony Orchestra conducted by David Loebel in 2009. I made some further revisions, and eventually the work was conducted by me with the Munich Radio Orchestra in Salzburg in 2012, when the jury of the Nestlé/Salzburg Festival Young Conductors Award -chaired by Ingo Metzmacher- asked me to complete my program (which included works by Sibelius, Ligeti and Mozart) with one of my own compositions. There are two verses from the poem "Excelsior" by Henry Wadsworth Longfellow, which I wrote on the score, and which were an inspiration to me at that time: The shades of night were falling fast, As through an Alpine village passed A youth, who bore, 'mid snow and ice, A banner with the strange device, Excelsior! [...] There in the twilight cold and gray, Lifeless, but beautiful, he lay, And from the sky, serene and far, A voice fell like a falling star, Excelsior! An important consideration that sparked the genesis of this piece is how remarkably different one same object might look like depending on the moment of the day or night in which we look at it. Similarly, different situations can be seen or understood from completely opposite points of view, depending on their context. Velocity, light, weight and texture can all vary in appearance at a glance. Elapsing Twilight Shades reflects my particular interest in creating sonic structures that behave in this manner. One idea is presented from several different perspectives. The "space" around the idea is manipulated, folded and viewed as if through a kaleidoscope, distorted by different lenses. This is the starting point for a work that eventually becomes affected by a few humorous moments and a delight in symphonic tradition. There are two main critical arrivals in the piece, where the dialogue is seemingly broken, but where in fact the previous music is expanded into a more rhapsodic and quite different dimension. For me these moments represent a very special ideal of collective beauty, achieved only through hope and freedom.
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