Auguste Delacroix News
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2024-03-25
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2021-02-28 00:01:00
Leo Brouwer: Integral Piano Trios -- B3: Brouwer Trio
Leo Brouwer (1 March 1939) Leo Brouwer Birthday Post I 01-06 Pictures at another exhibition07 El Triángulo de las Bermudas08-09 Manuscrito antiguo encontrado en una botella10-12 Sones y danzonesB3: Brouwer TrioJenny Guerra, violin (L Widhalm, Nüremberg 1772)David Apellániz, cello (B Cison, Chicago 2003)Carlos Apellániz, piano (Kawai C7)Recorded 10-13 June 2008, Valencia, SpainSello Autor SA01527 (out of print) XLD rip front, back, booklet320.8 MB1fichier https://1fichier.com/?fur7tfwuwt8pjprdu047WeTransfer (for 7 days) https://we.tl/t-B5LSvJO9Gc Apologies for the poor scans; it's the best I can get at the moment. Tracklist01 Pictures at another exhibition - I. La jungla (Wifredo Lam)02 Pictures at another exhibition - II. Nude (Amedeo Modigliani)03 Pictures at another exhibition - III. The garden of earthly delights (Heronimus Bosch)04 Pictures at another exhibition - IV. Portrait of Chopin (Eugene Delacroix)05 Pictures at another exhibition - V. Los desastres de la guerra (Francisco de Goya)06 Pictures at another exhibition […]
2020-12-28 09:36:32
Berlioz and the creation of Gluck's Orphée et Eurydice as a 19th century masterpiece
Kathleen Ferrier as Gluck's Orfeo in the Netherlands in 1949 Whilst the versions of Gluck's operatic re-telling of the tale of Orpheus and Eurydice with a male counter-tenor or tenor as the hero have been explored quite extensively in the last 25 years, the abiding image of the opera remains, at least in English speaking countries, that of a female mezzo-soprano as Orpheus thanks to the powerful performances of singers such as Kathleen Ferrier and Janet Baker. In fact, this standard version of the opera is one that Gluck never knew, and both the opera and the idea of the mezzo-soprano as hero are very much 19th-century creations, the result of a combination of circumstances in 1820s Paris, a story which includes pitch inflation, the composer Berlioz' hero-worship of an unfashionable composer, and a great operatic dynasty, as well as a walk-on role for the painter Eugene Delacroix. […]
2020-07-17 10:41:00
Wagner and Revolution
[…] Congress of Vienna (1814-15), often had its much-vaunted “principle of legitimacy” breached: e.g., the Holy Roman Empire not revived, two fifths of Wagner’s native Saxon territory ceded to Prussia. However, newer ideals of Liberalism and constitutionalism also encountered inveterate hostility, epitomized by Austrian Chancellor Metternich and his European “System.” France’s 1830 July Revolution commenced another wave, replacing ultra-legitimist Charles X with “citizen-king,” Louis-Philippe. Constitutions were granted in Saxony, Baden, and elsewhere. Delacroix, Liberty Guiding the People The seventeen-year old Wagner, hitherto repelled by tales of French Revolutionary excess, drew inspiration from news of Paris and Dresden: the “world of history came alive for me … naturally, I became a fervent partisan of the revolution” (My Life, English tr., 39). Increased and increasing public interest in social and political affairs characterized the period, “revolution” and reaction very much alive (Young Germany). Few were surprised […]
2020-04-06 08:33:05
The most successful opera composer of the 19th century? A look at Meyerbeer and his operas
[…] the period 1828 to 1850 developed partly in response to the changing demographic of the opera going public. The rise of the middle-class audience meant that people were no longer interested in operas based on Greek gods and goddesses or glorifying the rulers of the regime. And the 1820s was a striking decade in the French capital, Louis XVIII died and Charles X was crowned, and at some point during the decade Victor Hugo, Eugene Delacroix, Berlioz, Stendhal, Rossini, Madame de Satael, Gericault and many more were active.Foreign composers based in Paris such as Gaspare Spontini (with La vestale of 1807 and Fernand Cortez of 1809/1817), Luigi Cherubini and Gioacchino Rossini provided important precursors for French Grand Opera as did Meyerbeer himself with the French premiere of Il crociato in Egitto in 1825. The richness of the stagings ultimately created a style which blended historical setting, spectacular stage effects […]
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