Samuel Pepys Videos
englischer Marinesekretär und Chronist der Restaurationsepoche (1633–1703)
- Königreich England
- Politiker, Schriftsteller, Tagebuchschreiber, Friedensrichter, Richter
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2024-05-03
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Marc Antonio Cesti Arezzo Assisi Friar Samuel Pepys Cortesi 1623 1637 1650 1652 1656 1660 1663 1666 1668 1669
Pietro Marc'Antonio Cesti (Italian pronunciation: [anˈtɔːnjo ˈtʃesti]) (bap. 5 August 1623 – 14 October 1669), known today primarily as an Italian composer of the Baroque era, was also a singer (tenor), and organist. He was "the most celebrated Italian musician of his generation".He was born at Arezzo, and studied with various local musicians. In 1637 he joined the Order of Friars Minor, or Franciscans, a Roman Catholic religious group founded by Francis of Assisi. While he was in Volterra he turned more toward secular music, perhaps due to the patronage and influence of the powerful Medici family. Here he also came in contact with Salvator Rosa, who wrote libretti for a number of Cesti's cantatas. By 1650 Cesti's calling as a Franciscan friar and his success as a singer and composer for operas was coming into conflict, and he was officially reprimanded. In 1652 he became a member of the court at Innsbruck of Ferdinand Charles, Archduke of Austria. After holding a post somewhere in Florence as maestro di cappella, he entered the papal chapel in 1660. In 1666 he became Vice-Kapellmeister at Vienna, and died at Venice in 1669.Cesti is known principally as a composer of operas. The most celebrated of these were La Dori (Venice, 1663), Il pomo d'oro (Vienna, 1668) and Orontea (1656). Il pomo d'oro (The Golden Apple) was performed for the wedding of Emperor Leopold I. It was far more elaborate than contemporary Venetian operas, including a large orchestra, numerous choruses, and various mechanical devices used to stage things like gods descending from heaven (deus ex machina), naval battles, and storms. Orontea was revived seventeen times in the next thirty years, making it one of the most frequently performed operas on the continent in the mid-17th century. Even Samuel Pepys owned a copy of the score.[citation needed] It includes a well-known soprano aria "Intorno all'idol mio" (English: "Around my idol"). Cesti was also a composer of chamber cantatas, and his operas are notable for the pure and delicate style of their airs, more suited to the chamber than to the stage. He wrote in the bel canto style of the 17th century, and his compositions were heavily influenced by his career as a professional singer. Cesti's musical writing owes much to the emerging tonality of the time. / Song Text: Intorno all’idol mio spirate pur, spirate, Aure, Aure soavi e grate, E nelle guancie elette Baciatelo per me, Cortesi, cortesi aurette! Al mio ben, che riposa Su l’ali della quiete, Grati, grati sogni assistete E il mio racchiuso ardore Svelate gli per me, O larve, o larve d’amore!
Albert Coates Julius Klengel Nikisch Offenbach Hoffmann Schuch Scriabin Wagner Sir Thomas Beecham Samuel Pepys Vladimir Rosing London Symphony Orchestra Rochester Philharmonic Orchestra Wiener Philharmoniker Mariinsky Theater Covent Garden Berlin State Opera 1882 1891 1902 1904 1905 1906 1907 1908 1909 1910 1914 1919 1920 1921 1923 1925 1929 1931 1935 1936 1938 1946 1953
Excellent transfer by Damian Rogan. Found at 78rpmcommunity.com/profile/damians78s. That and damians78s.co.uk are great sites with many wonderful downloads available. Recorded 1929 Dvorak's wrote the Carnival Overture in 1891 as the middle work in a set of three overtures. As a group they were titled Nature, Life and Love. Dvorak wrote his own program note describing the story behind the music: "The wanderer reaches the city at nightfall, where a carnival of pleasure reigns supreme. On every side is heard the clangor of instruments, mingled with shouts of joy and the unrestrained hilarity of people giving vent to their feelings in the songs and dance tunes." Albert Coates Born: April 23, 1882 - St. Petersburg, Russia Died: December 11, 1953 - Milnerton, near on Cape Town, South Africa The English conductor and composer, Albert Coates, was born in Russia to an English father and a mother of Russian descent. He went to England for his general education; enrolled in science classes at the University of Liverpool, and studied organ with an elder brother who was living there at the time. In 1902 he entered the Leipzig Conservatory, studying cello with Julius Klengel, and piano with Teichmüller. Eventually, he became most influenced by Nikisch's conducting classes, served his apprenticeship there, engaged as répétiteur at the Leipzig Opera, and made his debut as conductor in Offenbach's Les Contes d'Hoffmann at the Leipzig Opera in 1904. In 1905 (or 1906) Albert Coates was appointed (on Nikisch's recommendation) chief conductor of the opera house at Elberfeld, serving in this post until 1907 (or 1908). From 1907 to 1909 he was a joint conductor at the Dresden Court Opera (as assistant to Schuch); then at Mannheim +••.••(...), with Bodanzky). An invitation to conduct Siegfried at St. Petersburg led to Coates' appointment as principal conductor at the Mariinsky Theater (Imperial Opera) there for five years. He conducted many Russian operas, and the post also brought him into close contact with leading Russian musicians, particularly Scriabin, whose music he championed. From 1919 he conducted in England, specialising in Wagner and the Russian repertoire. Having made his first appearance at London's Covent Garden in 1914 with Tristan und Isolde, he conducted there regularly from 1919. He shared performances of the Ring with Nikisch, and returned there frequently during Sir Thomas Beecham's opera seasons. From 1919 to 1921 he was principal conductor of the London Symphony Orchestra. In 1920 he made his American debut as guest conductor of the New York Symphony Orchestra. During 1923-1925, he led conducting classes at the Eastman School of Music in Rochester, New York, conducted the Rochester Philharmonic Orchestra, and appeared as guest conductor with other American orchestras. Subsequent engagements included a season at the Berlin State Opera (1931) and concerts with the Wiener Philharmoniker (1935). In 1938 he conducted for the last time at Covent Garden. In 1946 he settled in South Africa, where he conducted the Johannesburg Symphony Orchestra and taught at the University of South Africa at Cape Town. Albert Coates was one of the most outstanding, if unheralded, conductors of his generation; he excelled in the Romantic operatic and symphonic repertoire, conducting particularly memorable performances of Russian music and Wagner's music dramas. Albert Coates was a prolific composer, but his works had few performances. He wrote two operas: Samuel Pepys, produced at Munich in 1929, and Pickwick, staged at Covent Garden in 1936 as the main novelty of a season by the short-lived British Music Drama Opera Company, for which he was chiefly responsible in association with Vladimir Rosing. Although unsuccessful in the theater, Pickwick had the distinction of being the first opera to be shown on television. Several scenes from it were included in the BBC's newly opened service in November 1936, in advance of its stage première.
Daniel Purcell Henry Purcell Samuel Pepys 1667 1700
Henry Purcell's prelude Z. 773 is described as being for the recorder or "treble violin." It is paired here with a prelude by his younger brother, Daniel. The recorder seems to have almost disappeared in England in the first half of the seventeenth century, but saw a resurgence after the Restoration. Charles II grew up in France; perhaps this renewed interest in the recorder was partly due to the influence of his years spent at the French court. Several French musicians who played wind instruments came to live and work in England after Charles' return to power. The music enthusiast Samuel Pepys, writing in his Diary in February of 1667, describes how he was transported on hearing the recorder for the first time at the theatre; he was affected physically and could not sleep that night. He purchased his first recorder from the London maker Drumbleby shortly thereafter. I made the boxwood recorder used here after P. Bressan, ca. 1700. The pitch is ca. a=400. My performance is live and unedited.
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