Étienne Ozi Videos
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2024-05-01
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Franz Liszt Molli Ozi Rebel Washington National Opera 1852
It is exceptionally rare that we have the opportunity to hear a previously unknown work by a major composer, but that is precisely what the Library of Congress offered in its presentation of the piano/vocal version of Franz Liszt’s Sardanapalo. Scholar and pianist David Trippett has reconstructed one act of an opera composed by Franz Liszt that the composer abandoned in 1852. This video features excerpts of this beautiful and exciting work from Trippett’s piano/vocal performance version of the piece presented at the Library. Trippett as pianist and director is joined by singers from the Domingo-Cafritz Young Artists Program of the Washington National Opera and the Washington Master Chorale. LISZT/TRIPPETT - Selections from Sardanapalo [0:28] 1) Act 1, scene i: “Al core affranto della schiava infelice” Mirra, broken-hearted, laments the loss of her homeland, and begins to weep. [1:36] 2) Act 1, scene i: “Di rose e pampini ghirlanda il crine” The chorus of concubines worships Mirra, as the king’s favorite, wishing for her a life of boundless ecstasy and angelic kisses. [4:35] 3) Act 1, scene ii: “Giù pel piano, sull’erto sentiero” In a melancholic cavatina, Mirra wanders by a peaceful brook and recalls a dream of home, evoking her mother’s smile. But this vanishes, as she protests at being riven between her former home and present involvement with the Assyrian king, calling herself a “slave, alone, plaything of fate.” [8:07] 4) Act 1, scene ii: “Ahi! nell’ ansio rapimento il suo sguardo m’affisò” Mirra’s cabaletta recalls joyfully how she fell in love with the king; his gaze, her “indescribable contentment” at being chosen, and the blissful happiness they found. She weeps tears of happiness. [11:41] 5) Act 1, scene iii: “Parla! Parla! Ah, tua voce è un incanto” King Sardanapalo walks in on Mirra looking distressed, and implores her to share her troubles. Trembling, she doesn’t dare, confessing “I forget myself in you.” He seeks to console her. Blushing, she confesses she cannot but love him, saying “this ill-fated flame brings me nothing but shame.” Undeterred, the King blesses their love, and seeks a long happiness together, but Mirra worries about his wife’s wrath. [20:43] 6) Act 1, scene iv: “e in molli ozi travolgi? La voce del dovere in te non scende?” Beleso, a priest and elder statesman, enters warning of war, and mocks the king for his indulgences and for ignoring the inner voice of duty. An ancient line of kings (“the eternal elect”) will end, Beleso warns, unless the King heeds his words. The King, in turn, advises him to watch his tongue. [22:55] 7) Act 1, scene iv: “Oh perchè, perchè quell core” After the King laments that every glory is a lie if it is bought by human suffering, Mirra wonders aloud why he is not driven to defeat the rebel satraps plotting to overthrow him. Beleso urges action, and Mirra believes her love will awaken him to noble valor. [26:17] 8) Act 1, scene iv: “Non è vasta assai la terra” The King, finally, accepts peace is impossible, and agrees to go to war. Immediately, Beleso summons the parliament and calls for rapid action, predicting dark revenge on the rebels. A closing trio sees the King growing more contented as military ruler, Mirra praising his new noble demeanor, and Beleso beating the drums of war as the army mobilizes and begins to march into battle. For more information, visit (http•••)
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François Devienne Wolf Dieter Hauschild Vernet Félix Ozi Maillard Concert Spirituel Théâtre Favart 1748 1758 1759 1776 1778 1779 1780 1781 1782 1784 1785 1788 1789 1790 1792 1794 1797 1801 1803 1825 1836 1920
★ Follow music ► (http•••) Composer: François Devienne +••.••(...)) Work: Sinfonie concertante [F] pour cor et basson (1785) Performers: Klаus Wаllendorf (horn); Kаrl-Otto Hаrtmаnn (bassoon); Rundfundorchester Hannover; Wolf-Dieter Hauschild (conductor) Sinfonie concertante 1. Allegro 0:00 2. Adagio 10:47 3. Rondó 14:16 Painting: Carle Vernet +••.••(...)) - View of Paris from the Terrace of the Pavillon de Brimborion Image in high resolution: (http•••) Painting: Jacques-Louis David +••.••(...)) - Portait du flûtiste François Devienne (c.1792) Image in high resolution: (http•••) Further info: (http•••) Listen free: No available / François Devienne (Joinville, 31 January 1759 - Paris, 5 September 1803) French flautist, bassoonist, composer and teacher. He was the seventh of eight children born to Pierre Devienne and his second wife Marie Petit. Two obituaries published in 1803, which have since been proved apocryphal, claimed that when he was ten he wrote a mass which was performed by the musicians of the Royal Cravate cavalry regiment. He probably received his earliest training from the organist Morizot in Joinville, and continued his education with his elder brother and godfather, François Memmie, in Deux Ponts (now Zweibrücken) from 1776 to 1778. He left Deux Ponts on 15 May 1778 and may have spent some time with the Royal Cravate regiment during the following year. He joined the Paris Opéra orchestra as last chair bassoonist in autumn 1779 for one season, and studied the flute with the orchestra's principal flautist, Félix Rault. It is likely that Devienne entered the service of Cardinal de Rohan as a chamber musician in spring 1780 and remained there until mid-1785. In 1781 he joined the freemasons; he presumably became a member of the famous masonic orchestra, the Loge Olympique, during the 1780s. The first performance in Paris of a work by him was on 24 March 1780, when Ozi performed ‘a new Bassoon Concerto composed by de Vienne’ at the Concert Spirituel. Devienne first appeared in Paris as a soloist on 24 December 1782 at the Concert Spirituel when he performed ‘a new flute concerto’, probably his Flute Concerto no.1; his first appearance as a bassoon soloist at the Concert Spirituel was on 25 March 1784 when he played his Bassoon Concerto no.1. From 1782 to 1785 he performed at the Concert Spirituel as a soloist at least 18 times, but after 3 April 1785 he did not appear there for four years. From 1785 to 1789 his place of employment is uncertain; he may have been a member of the Swiss Guards Band in Versailles. Devienne probably returned to Paris in autumn or winter 1788. Les spectacles de Paris 1790 lists him as the second bassoonist of the Théâtre de Monsieur when it opened in January 1789 and by autumn 1790 he had advanced to principal bassoonist, a position he held until April 1801. Devienne's first known solo appearance after his return to Paris was at the Concert Spirituel on 7 April 1789, when he played the flute part in the première of his Sinfonie concertante no.4. In autumn 1790 he joined the military band of the Paris National Guard where his duties included teaching music to the children of French soldiers and participation in the musical events of the numerous festivals in Paris. This organization officially became the Free School of Music of the National Guard in 1792, and Devienne was one of the three sergeants in its administration. The marriage of Devienne to a Mlle Maillard presumably took place between 1789 and 1792; they had five children. The Théâtre Montansier, which devoted most of its productions to original French opéras comiques, opened on 12 April 1790 and Devienne's Le mariage clandestin was staged there the following November. Two more of his operas were staged before his most popular opera, Les visitandines (1792), was performed at the Théâtre Feydeau. This opera was among the most successful of the Revolutionary period; it had over 200 performances in Paris between 1792 and 1797 and was also performed there as late as 1920. Devienne's famous method for the one-key flute was published in 1794. On 12 April 1801 the Théâtre Feydeau abruptly closed. Its orchestra and that of the Théâtre Favart merged the following September to form the new Opéra-Comique orchestra, but it is not known if Devienne was a member of this orchestra. In May 1803 he entered Charenton, a Parisian home for the mentally ill, where he died the following September after a long illness which ended by impairing his reason.
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