Julius Schaeffer Videos
Komponist
- Deutschland
Letzte Aktualisierung
2024-06-10
Aktualisieren
Zappa Pak Vincent Derosa Estes Estrada Sherwood Feldman Guerin Haynes Richards Rizzi Schaeffer Paul Smith Zito Abnuceals Emuukha Electric Symphony Orchestra 1550 1967 1968
Frank Zappa and the Abnuceals Emuukha Electric Symphony Orchestra Lumpy Gravy is the debut solo album by Frank Zappa, written by Zappa and performed by a group of session players he dubbed the Abnuceals Emuukha Electric Symphony Orchestra. Zappa conducted the orchestra but did not perform on the album. It is his third album overall: his previous releases had been under the name of his group, the Mothers of Invention. It was commissioned and briefly released, on August 7, 1967, by Capitol Records in the 4-track Stereo-Pak format only and then withdrawn due to a lawsuit from MGM Records. MGM claimed that the album violated Zappa's contract with their subsidiary, Verve Records. In 1968 it was reedited and released by MGM's Verve Records on May 13, 1968. The final version of the album consisted of two musique concrète pieces that combined elements from the original orchestral performance with elements of surf music and the spoken word. It was praised for its music and editing. Produced simultaneously with We're Only in It for the Money, Zappa saw Lumpy Gravy as the second part of a conceptual continuity that later included his final album, Civilization Phaze III. Musicians - Abnuceals Emuukha Electric Symphony Orchestra : Arnold Belnick – strings Harold Bemko – strings Chuck Berghofer – bass Jimmy Carl Black – chorus Jimmy Bond – bass Monica Boscia – chorus Dennis Budimir – guitar Frank Capp – drums Donald Christlieb – woodwind Gene Cipriano – woodwind Vincent DeRosa – french horn Joseph DiFiore – strings Jesse Ehrlich – strings Alan Estes – percussion, drums Gene Estes – percussion Louis "Louie the Turkey" Cuneo – chorus Roy Estrada – bass, chorus Larry Fanoga (Euclid James "Motorhead" Sherwood) – vocals, chorus Victor Feldman – percussion, drums Bunk Gardner – woodwind James Getzoff – strings Philip Goldberg – strings John Guerin – drums Bruce Hampton – chorus Jimmy "Senyah" Haynes – guitar Harry Hyams – strings Jules Jacob – woodwind Pete Jolly – piano, celeste, harpsichord Harold Kelling - vocals Ray Kelly – strings Jerome Kessler – strings Alexander Koltun – strings Bernard Kundell – strings William Kurasch – strings Michael Lang – piano, celeste, harpsichord Arthur Maebe – French horn Leonard Malarsky – strings Shelly Manne – drums Lincoln Mayorga – piano, celeste, harpsichord Ted Nash – woodwind Richard Parissi – French horn Glenn Phillips - vocals Don Randi – piano Jerome Reisler – strings Emil Richards – percussion Tony Rizzi – guitar John Rotella – percussion, woodwind Joseph Saxon – strings Ralph Schaeffer – strings Leonard Selic – strings Kenny Shroyer – trombone Paul Smith – piano, celeste, harpsichord Tommy Tedesco – guitar Al Viola – guitar Bob West – bass Tibor Zelig – strings Jimmy Zito – trumpet 1968 version, part one No. Title Length 1. "The Way I See It, Barry" 0:06 2. "Duodenum" 1:32 3. "Oh No" 2:03 4. "Bit of Nostalgia" 1:35 5. "It's from Kansas" 0:30 6. "Bored Out 90 Over" 0:31 7. "Almost Chinese" 0:25 8. "Switching Girls" 0:29 9. "Oh No Again" 1:13 10. "At the Gas Station" 2:41 11. "Another Pickup" 0:54 12. "I Don't Know If I Can Go Through This Again" 3:49 Total length: 15:50 1968 version, part two No. Title Length 1. "Very Distraughtening" 1:33 2. "White Ugliness" 2:22 3. "Amen" 1:33 4. "Just One More Time" 0:58 5. "A Vicious Circle" 1:12 6. "King Kong" 0:43 7. "Drums Are Too Noisy" 0:58 8. "Kangaroos" 0:57 9. "Envelops the Bath Tub" 3:42 10. "Take Your Clothes Off"
Claude Arrieu Johann Sebastian Bach Igor Stravinsky Gabriel Fauré Claude Debussy Maurice Ravel Marguerite Long Georges Caussade Noël Gallon Jean Roger Ducasse Ducasse Paul Dukas Pierre Schaeffer Jean Pierre Rampal Roussel Frédéric Chopin Johannes Brahms Wolfgang Amadeus Mozart Sergei Rachmaninov Franz Liszt Astor Piazzolla Beethoven Georges Bizet Gioachino Rossini Antonio Vivaldi Niccolò Paganini Pyotr Ilyich Tchaikovsky Johann Strauss John Dowland Franz Joseph Haydn Ralph Vaughan Williams Giovanni Battista Pergolesi Antonín Dvořák Giacomo Puccini Franz Schubert Giuseppe Verdi Opéra Marseille 1924 1932 1934 1935 1936 1937 1938 1943 1944 1945 1946 1947 1949 1953 1955 1957 1958 1960 1961 1962 1964 1965 1970 1974
Relax and enjoy with the best classical music of all times! Subscribe: (http•••) Claude Arrieu - Quintette en Ut, pour flute, hautbois, clarinette, cor et basson (1955) 1 Allegro 2 Andante 3 Allegro Scherzando 4 Adagio 5 Allegro vivace Claude Arrieu was a classically trained musician from an early age. She became particularly interested in works by Bach and Mozart, and later, Igor Stravinsky. However, Gabriel Fauré, Claude Debussy, and Maurice Ravel provided her the most inspiration. Dreaming of a career as a virtuoso, she entered the Conservatoire de Paris in 1924. She became a piano student of Marguerite Long and took classes from Georges Caussade, Noël Gallon, Jean Roger-Ducasse and Paul Dukas. In 1932, she received first prize for composition. From this point on, she developed her personal style. She was particularly interested in the evolution of musical language and various technical means available. In 1935, she joined the French Radio Broadcasting Program Service (« Service des programmes de la Radiodiffusion française »), where she was employed to 1947. She participated in the development of a wide range of programming, including Pierre Schaeffer’s experimental radio series, La Coquille à planètes (1943–1944). In 1949, she won the Prix Italia of the RAI for her score Frédéric Général. She wrote music in all styles, composing works of "pure music" as well as music for theatre, film, radio, and music hall, contributing her own voice to every situation, dramatic or comic, with a particular taste for rhythm and imagery. Her musical gift is typified by its ease of flow and elegance of structure. Vivacity, clarity of expression, and a natural feel for melody are her hallmarks. Arrieu composed concertos for piano (1932), two pianos (1934), two concertos for violin (1938 and 1949), for flute (1946), trumpet and strings (1965). She also wrote Petite suite en cinq parties (1945), "Concerto for wind quintet and strings" (1962), Suite funambulesque ("Tightrope Walker's Suite") (1961), and "Variations for classical strings" (1970). Among her important chamber music compositions are her "Trio for Woodwinds" (1936), "Sonatina for Two Violins" (1937), and "Clarinet Quartet" (1964). Her "Sonatine for flute and piano" made a big impression at its first radio performance in 1944 by Jean-Pierre Rampal and H. Moyens. Although Arrieu’s instrumental works strongly contributed to her legacy, it is vocal music that most markedly distinguish her career. Voice inspired her to set many poems to music, including those by Joachim du Bellay, Louise Levêque de Vilmorin, Louis Aragon, Jean Cocteau, Jean Tardieu, Stéphane Mallarmé, and Paul Éluard. Examples include Chansons Bas for voice and piano based on poems by Mallarmé (1937); Candide, radio music on texts by Jean Tardieu based on Voltaire; and À la Libération, cantata of seven poems on love in war, on poems by Paul Éluard Her first opéra bouffe, Cadet Roussel with a libretto by André de la Tourasse after Jean Limozin, was presented at the Opéra de Marseille on 2 October 1953. In 1960, La princesse de Babylone ("Princess of Babylon"), an opéra bouffe after the work of Voltaire adapted by Pierre Dominica, was praised for its lyrical originality and spectacle. Noteworthy film scores include: Les Gueux au paradis (1946), Crèvecoeur (1955), Niok l'éléphant (1957), Marchands de rien (1958), Le Tombeur (1958), and Julie Charles (for television, 1974). Pierre Schaeffer writes: "Claude Arrieu is part of her time by virtue of a presence, an instinct of efficiency, a bold fidelity. Whatever the means, concertos or songs, music for official events, concerts for the elite or for a crowd of spectators, she delivered emotion through an impeccable technique and a spiritual vigilance, finding the path to the heart." Listen Fantastic Piano, Violin and Orchestral Masterpieces by the greatest composers of all time. Claude Debussy, Frédéric Chopin, Johannes Brahms, Wolfgang Amadeus Mozart, Sergei Rachmaninov, Franz Liszt, Astor Piazzolla, Johann Sebastian Bach, Ludwig van Beethoven, Georges Bizet, Gioachino Rossini, Antonio Vivaldi, Niccolò Paganini, Wagner Richard, Pyotr Ilyich Tchaikovsky, Johann Strauss, John Dowland, Franz Joseph Haydn, Ralph Vaughan Williams, Giovanni Battista Pergolesi, Antonín Dvořák, Giacomo Puccini, Igor Stravinsky, Franz Schubert, Giuseppe Verdi, and others… Subscribe: (http•••)
Grimm Danz Schaeffer Sutherland Kieffer Violaine Cochard 1500 1700 1900
[THEATER · KREATIOUN] Fir Grouss a Kleng! Nom Märche 'Bridderchen a Schwësterchen' vun de Bridder Grimm erzielt d'Elise Schmit an 'All d'Déieren aus dem Bësch' eng Geschicht iwwert Anëschtsinn an Upassung, iwwert Frëndschaft a Solidaritéit, an iwwert de Wonsch, säin eegene Wee ze fannen. An der Inzenéierung vum Anne Simon kënnt de Märchebësch mat Danz a Musék zum Liewen. Encadréiert vun engem aussergewéinleche kreativen Team, dat aus der Choreographin Elisabeth Schilling, dem Ensembel Lucilin an dem Vibraphonist Pascal Schumacher besteet, schaaft si duerch d’Spill mat verschidden theatrale Formen eng multidisziplinär Erfarung fir d’ganz Famill. Dans son adaptation pour la scène et en langue luxembourgeoise du conte Frérot et Sœurette des frères Grimm, Elise Schmit ra-conte une histoire sur l‘amitié et la solidarité, sur la difficulté de s‘adapter et sur le désir de trouver sa propre voie. Dans la mise en scène d‘Anne Simon, la forêt magique prend vie grâce à la danse et à la musique. Christmas would not be the same without a Grimms‘ fairytale. Following a reimagined Rumpelstiltskin and Rapunzel, the festive tra-dition continues with the less familiar but just as magical Brother & Sister. / Text: Elise Schmit Regie: Anne Simon Choreographie: Elisabeth Schilling Bün: Mélanie Planchard & Lynn Scheidweiler Kostümdesign: Ágnes Hamvas Kompositioun & musikalesch Leedung: Pascal Schumacher Luucht: Nina Schaeffer Regiemataarbecht & Assistenz: Sally Merres Choreographesch Assistenz: Malcolm Sutherland • Mam: Julie Kieffer, Anne Klein, Nora Koenig, Raoul Schlechter, Philippe Thelen, Max Thommes, Dominik Raneburger, Anouk Wagener DänzerInnen: Georges Maikel, Malcolm Sutherland, Aifric Ní Chaoimh & Junior Company CND Luxembourg • Orchester United Instruments of Lucilin Cembalo Violaine Cochard / Virstellungen: Freides, den 17.12 um 19:00 Samschdes, den 18.12 um 15:00 an um 19:00 Sonndes, den 19.12 um 15:00 an um 19:00 Dënschdes, den 21.12 um 17:00 Mëttwochs, den 22.12 um 17:00 Donneschdes, 23.12 um 17:00 Reservatiounen: www.lestheatres.lu · •••@••• · +••.••(...)
Zappa Pak Sherwood Feldman Guerin Haynes Richards Rizzi Schaeffer Paul Smith Zito Abnuceals Emuukha Electric Symphony Orchestra 1967 1968
Few Landscapes Lumpy Gravy is the debut solo album by Frank Zappa, an album of orchestral, electric and concrete sound written by Zappa and performed by a group of session players he dubbed the Abnuceals Emuukha Electric Symphony Orchestra. Zappa conducted the orchestra but did not perform on the album. It is his third album overall: his previous releases had been under the name of his group, the Mothers of Invention. It was commissioned and briefly released, on August 7, 1967, by Capitol Records in the 4-track Stereo-Pak format only and then withdrawn due to a lawsuit from MGM Records. MGM claimed that the album violated Zappa's contract with their subsidiary, Verve Records. In 1968 it was reedited and reissued by MGM's Verve Records on May 13, 1968. It consisted of two musique concrète pieces that combined elements from the original orchestral performance with elements of surf music and the spoken word. It was praised for its music and editing. Produced simultaneously with We're Only in It for the Money, Zappa saw Lumpy Gravy as the second part of a conceptual continuity that later included his final album, Civilization Phaze III. Later it was re-edited by Zappa as part of a project called No Commercial Potential, which included three other albums: We're Only in It for the Money, Cruising with Ruben & the Jets and Uncle Meat. This became Official Release #3. Larry Fanoga (Euclid James "Motorhead" Sherwood) – vocals, chorus Victor Feldman – percussion, drums Bunk Gardner – woodwind James Getzoff – strings Philip Goldberg – strings John Guerin – drums Bruce Hampton – chorus Jimmy "Senyah" Haynes – guitar Harry Hyams – strings Jules Jacob – woodwind Pete Jolly – piano, celeste, harpsichord Harold Kelling - vocals Ray Kelly – strings Jerome Kessler – strings Alexander Koltun – strings Bernard Kundell – strings William Kurasch – strings Michael Lang – piano, celeste, harpsichord Arthur Maebe – French horn Leonard Malarsky – strings Shelly Manne – drums Lincoln Mayorga – piano, celeste, harpsichord Ted Nash – woodwind Richard Parissi – French horn Glenn Phillips - vocals Jerome Reisler – strings Emil Richards – percussion Tony Rizzi – guitar John Rotella – percussion, woodwind Joseph Saxon – strings Ralph Schaeffer – strings Leonard Selic – strings Kenny Shroyer – trombone Paul Smith – piano, celeste, harpsichord Tommy Tedesco – guitar Al Viola – guitar Bob West – bass Tibor Zelig – strings Jimmy Zito – trumpet
oder
- Zeitleiste: Komponisten (Europa).
- Indizes (in alphabetischer Reihenfolge): S...