David Soar Videos
Letzte Aktualisierung
2024-05-03
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Finke Richard Strauss Frühling Hesse Soar
Vier letze Lieder - Richard Strauss Soprano: Pinar Finke Piano: Hein Boterberg 1. Frühling (Hermann Hesse) 2. September (Hermann Hesse) 3. Beim Schlafengehen (Hermann Hesse) 4. Im Abendrot (Joseph Eichendorff) English translations: 1. Spring In dusky vaults I have long dreamt of your trees and blue skies, of your scents and the songs of birds. Now you lie revealed in glistening splendor, flushed with light, like a wonder before me. You know me again, you beckon tenderly to me; all of my limbs quiver from your blissful presence! 2. September The garden is in mourning: the rain sinks coolly on the flowers. Summertime shudders quietly to its close. Leaf upon golden leaf is dropping down from the tall acacia tree. Summer smiles, amazed and exhausted, on the dying garden dream. Long by the roses still it tarries, yearns for rest, slowly its (great) weary eyes closes. 3. On going to sleep Now that day has tired me, my spirits long for starry night kindly to enfold them, like a tired child. Hands, leave all your doing; brow, forget all your thoughts. Now all my senses want to sink themselves in slumber. And the soul unwatched, wants to soar in free flight, and in the magic circle of night it lives deeply and a thousandfold. 4. At sunset Through want and joy we have walked hand in hand; we are both resting from our travels now, the quiet countryside below us. Around us the valleys incline; already the air grows dark. Two larks still soar alone half-dreaming, into the haze. Come here, and let them fly about; soon it is time for sleep. We must not go astray in this solitude. O spacious, tranquil peace, so profound in the gloaming. How tired we are of travelling – is this perhaps death?
Frédéric Chopin Soar 1842 1843
Frédéric Chopin's Impromptu No. 3 in G♭ major, Op. 51, for piano, was published in February 1843. It was the last in order of composition of his four impromptus, but the third published. The piece is written in 128 time. Chopin's favourite of these four pieces was the Impromptu in G flat major, Op 51 (1842). It begins rather like the first of the set with triplets in both hands, but is harmonically more adventurous. The ascending scale which appears initially in bar 9 makes our spirits soar.
Arnold Bax Tippett Soar Tippett Quartet Bohemian Quartet 1844 1883 1914 1915 1917 1920 1953 2009
Arnold Bax +••.••(...)) - Piano Quintet in G minor, GP 167 +••.••(...)) I. Passionate and Rebellious (Tempo moderato. Con passione) [0:00] II. Slow and Serious (Lento serioso) [18:44] III. Moderate Tempo (Tempo moderato) - Allegro vivace - Lento con gran'espressione [28:48] The Tippett Quartet Ashley Wass, piano (2009) Arnold Bax's Piano Quintet in G minor is a work in three movements typically lasting around 43 minutes. "The Piano Quintet, one of the first works of Bax’s maturity, was composed during 1914–15, and dedicated to Bax’s friend, the critic Edwin Evans. Its première was given privately on 19 December 1917 by Harriet Cohen and the English String Quartet. The first public performance was on 12 May 1920 with Fanny Davies and the Bohemian Quartet. With its conception on a grand, expansive scale, its cyclic use of thematic material in the first and third movements, and the adoption of an epilogue at the end of the work, the Quintet may be deemed a precursor of the symphonies that were to follow. In addition the influence of Celtic music is fully absorbed by Bax for the first time here, and the work’s myriad musical material is subjected to a constant process of evolution as he exploits all manner of harmonic and instrumental colours to superb effect. The overall character of the first movement is passionate and tempestuous, created around three principal ideas: a yearning theme introduced by the cello over rippling piano figuration; a crisp rhythmical theme played by the piano with the hint of a dance, and by contrast to the prevailing mood, a tranquil Celtic melody, also presented by the piano marked ‘singing softly’. Both the piano writing and the surging chromatic climaxes are redolent of sea images, suggestive of the tone poems The Garden of Fand and Tintagel that followed hard on the heels of the Quintet. In a movement of luxuriant invention, a highlight is an eerie passage with muted strings indicated to be played ‘like a chant’. Just one bar of emphatic string pizzicato chords ushers in the main idea of the slow movement, a ‘cool and clear’ song without words of lyrical melancholic beauty, again clearly of Celtic roots. It is contrasted by ‘cold and unemotional’ chorale-like passages for the strings, accompanied by an obsessive rhythm on the piano which hints at an affinity with the second idea of the opening movement, as well as a nonchalant fragment of a folksong-like melody on the viola. During the climactic section in the middle of the movement, the piano figuration evokes images of waves as above the strings soar with the song. The finale is impressive in the manner in which Bax uses the same three main ideas of the first movement to create a wholly different mood. It commences with an introductory section where, over a wash of piano texture marked ‘vague’, the opening two themes of the first movement return, the cello theme now on violin and viola, and the persistent rhythmic idea again on piano. After a gradual crescendo as the music gets faster, the latter is transformed into an ebullient heady dance. Later the third theme from the first movement is heard ‘singing plaintively’ on the cello over an extended piano pedal-point and the obsessive rhythm. The tempo of the Introduction returns to usher in the Epilogue in which the first theme is transformed yet again, and others are reviewed as this work of powerful musical imagination and emotional force reaches its conclusion." (source: Naxos)
Orquestra Gulbenkian Sob Beethoven Soar Boas Sem Neste 2002
Saiba mais: (http•••) 0:00 I. Adagio – Allegro con brio 9:23 II. Adagio cantabile 20:02 III. Tempo di menuetto 23:26 IV. Tema con variazioni: Andante 31:22 V. Scherzo: Allegro molto e vivace 35:00 VI. Andante con moto alla marcia Os instrumentistas da Orquestra Gulbenkian retomaram os ensaios e a música voltou a soar no Grande Auditório. Passo a passo, vamos retomando a normalidade e as boas notícias começam, finalmente, a chegar. Sob fortes medidas de segurança, durante o mês de junho os concertos de música de câmara irão regressar, ainda sem público, através da transmissão nas nossas plataformas digitais. Neste segundo recital, os Solistas da Orquestra Gulbenkian irão interpretar o Septeto para Sopros e Cordas de Beethoven. #gulbenkian
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