John Heddle Nash Videos
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Gedenken 2024 (Geburt: John Heddle Nash)
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- Vereinigtes Königreich, Vereinigtes Königreich Großbritannien und Irland
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2024-03-26
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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commissioned and briefly released, on August 7, 1967, by Capitol Records in the 4-track Stereo-Pak format only and then withdrawn due to a lawsuit from MGM Records.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"
William Heddle Nash Verdi Steane Enrico Caruso Giuseppe Borgatti Carcano Rossini Ferrando Joan Hammond Sir Edward Elgar Scala Covent Garden Three Choirs Festival British National Opera Company Carl Rosa Opera Company 1894 1923 1924 1925 1926 1929 1930 1931 1932 1934 1937 1938 1948 1950 1958 1961 1994
Heddle Nash sings 'Questa o quella' (in English as 'In my heart, all are equally cherished,') with orchestra conducted by Clarence Raybould, recorded on 4 April 1932. I hear a little 'bird' intrude in the introduction! From Wikipedia: William Heddle Nash (14 June 1894 – 14 August 1961) was an English lyric tenor who appeared in opera and oratorio. He made numerous recordings that are still available on CD reissues. Nash's voice was of the light tenor class known as 'tenore di grazia.' The critic J. B. Steane referred to him as 'the English lyric tenor par excellence, without equal then or now...' Nash was born in the South London district of Deptford on 14 June 1894... The family was musical, and listening at home to a gramophone record by Enrico Caruso prompted Nash to apply for a scholarship at the Blackheath Conservatoire of Music. He was accepted, but a week later World War I broke out. Nash joined the army, serving in France, Salonika, Egypt and Palestine. The Blackheath scholarship was held open until after the war; Nash took it up on his return. He had some experience of concert and oratorio work, and then he accepted an offer to sing with Podrecca and Feodora's Italian Marionettes. Unseen, standing in the orchestra pit of the Scala and Coliseum theatres, he sang the tenor roles in many Italian operas while on the stages the puppets mimed the action. After the London season, the marionette company secured a contract to appear in New York; Nash went with them. On his return to London a friend advanced the money for him to study in Milan with Giuseppe Borgatti. On 7 April 1923 Nash married Florence Emily Violet Pearce, daughter of a sign manufacturer. They had two sons, John Dennis Heddle Nash +••.••(...)), who became an operatic baritone, and David L Heddle Nash (b. 1930). While studying with Borgatti, Nash made his operatic debut in 1924 at the Teatro Carcano in Milan, when he replaced an indisposed tenor in the role of Almaviva in Rossini's Il Barbiere di Siviglia. It was a notable success. After singing at Turin, Bologna and Genoa, Nash returned to England with his wife in 1925. He had developed an Italianate style of singing that remained with him: it was said of him that he sang everything as though it were by Verdi. On his return to London Nash was engaged by the Old Vic Company under Lilian Baylis to sing tenor roles in English. Success was instantaneous. The Musical Times said that it was a pleasure to welcome a very beautiful tenor voice, praised his clarity of diction, and predicted that Nash would be one of the eminent lyric tenors of the future... At the end of the Old Vic season he joined the British National Opera Company, going on tour with the company after a short London season... In 1929, Nash made his debut at the Royal Opera House, Covent Garden... He sang leading tenor roles in Italian and French operas at Covent Garden until World War II... The critic Alan Blyth called Nash the leading British lyric tenor of the 20th century, and considered him 'ideal casting for the heroes of French 19th-century Romantic opera.' Nash had a repertoire of twenty-four operas, and sang fluently in English, French, German and Italian. He was proud of being the first Englishman to sing David in Die Meistersinger in the International Season at Covent Garden. In the first Glyndebourne season, in 1934, Nash played Basilio in Le Nozze di Figaro at the inaugural performance, Pedrillo, and Ferrando in Così fan Tutte. He sang these three roles every year until 1938, adding Ottavio in Don Giovanni in 1937. The critic Richard Capell wrote, 'Hardly another tenor of his time has sung Mozart with such elegance and at the same time such a minstrel-like effect of spontaneity.' Nash also sang in lighter musical stage works... During the war Nash toured with the Carl Rosa Opera Company, often singing opposite the Australian soprano Joan Hammond... His last appearance at Covent Garden was in Die Meistersinger in April 1948. He continued to appear on stage until July 1958... Nash's career was not restricted to opera; he gave many song recitals, made radio broadcasts and performed in concerts and oratorio productions all over Britain. In 1931, he was chosen by Sir Edward Elgar to sing the title role in The Dream of Gerontius, in a performance conducted by Elgar himself. Henceforth, Nash was closely associated with the part, singing it at every Three Choirs Festival from 1934 to 1950... Nash sang regularly in Messiah, and other oratorios... In his later years, Nash was appointed professor of singing at the Royal College of Music. He sang in his last Messiah a few months before his death from lung cancer on 14 August 1961. On his tombstone in Chislehurst Cemetery are carved the opening words of part two of The Dream of Gerontius: 'I went to sleep and now I am refreshed...'' I transferred this side from Australian Columbia DO 863.
Franz Abt Jörg Peter Weigle Weigle Friedrich Silcher Franz Schubert Serge Rachmaninov Heil Beethoven 2006
" ICH BETE AN DIE MACHT DER LIEBE " - Die schönsten Männerchöre singen zur Weihnachtszeit - Diverse Interpreten 01. Ich bete an die Macht der Liebe ~ Dimitrij Bortnjanskij 02. So nimm denn meine Hände ~ Friedrich Silcher 03. Als Maria über das Gebirge ging ~ Traditional 04. O Tannenbaum ~ Arr.: Richard Elliott 05. Leise rieselt der Schnee ~ Eduard Ebel 06. Vom Himmel hoch, o Englein kommt ~ Friedrich Spee 07. Lasst uns das Kindlein wiegen ~ Traditional 08. Still, still, still, weil's Kindlein schlafen will ~ Volksweise aus Salzburg 09. Die Nacht ~ Franz Schubert 10. Vater unser, "Otche nash" ~ Serge Rachmaninov 11. Heil'ge Nacht, o gieße du ~ Ludwig van Beethoven 12. Ave Maria ~ Franz Abt - DELTA MUSIC GmbH 2006
Dohnányi Nash Ensemble All Saints Church Museum Fine Arts 1861 1877 1909 1927 1960 2017
Available from 1st June on Hyperion Records (Downloads - mp3, ALAC, FLAC / CD) (http•••) Ernő Dohnányi +••.••(...)) String Quartet, Serenade & Sextet The Nash Ensemble Pre-order / Get on iTunes (http•••) Featured extracts 1- Marcia: Allegro[2'02] 7- Andante religioso con variazioni[9'38] 9- Allegro appassionato[11'41] 11- Allegro con sentimento –[7'06] Album also includes Serenade for string trio in C major Op 10[19'59] 2- Romanza: Adagio non troppo[3'32] 3- Scherzo: Vivace[4'27] 4- Tema con variazioni: Andante con moto[5'48] 5- Finale: Rondo[4'10] String Quartet No 3 in A minor Op 33[25'28] 6- Allegro agitato e appassionato[10'31] 8- Vivace giocoso[5'19] Sextet for piano, clarinet, horn and string trio in C major Op 37[30'35] 10- Intermezzo: Adagio[6'00] 12- Finale: Allegro vivace, giocoso[5'48] Recorded in June 2017 All Saints' Church, East Finchley, London, United Kingdom Produced by Andrew Keener Engineered by Simon Eadon Cover artwork: Interior (1909) by Jozsef Rippl-Ronai +••.••(...)) Museum of Fine Arts, Houston, Texas / Museum purchase funded by Audrey Jones Beck / Bridgeman Art Library, London
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