Marie-Pierre Langlamet News
musical artist
- harp
- harpist, music teacher
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2024-03-29
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2022-02-17 06:20:00
Stravinsky: Concerto in E-flat “Dumbarton Oaks”; Craig Urquahart: Lamentation for Flute and String Orchestra; Dorman: Nofim (Sights); Takemitsu: Toward the Sea II; Stravinsky: “No Word from Tom” from The Rake’s Progress; Copland: Appalachian Spring Suite (Original version for 13 instruments). Stathis Karapanos, flute; Chen Reiss, soprano; Noah Bendix-Blgley, violin; Marie-Pierre Langlamet, harp; Garrett Keast, Berlin Academy of American Music. ONYX 4223.By Karl W. NehringThis generously filled (82:07) release offers a fascinating and musical program presented by a fascinating musical ensemble. The Berlin Orchestra of American Music came into being as American conductor Garrett Keast, now living in Berlin, got together with bassist and friend Rosie Salucci, a fellow American Berliner, to see about organizing some chamber orchestra performances of works by American composers. Even though this occurred during the summer and fall of 2020 during the ongoing pandemic, the musicians enjoyed the experience and the idea of forming the orchestra and making this recording came […]
2022-01-24 05:39:00
Works by Ramirez, Dowland, Schubert, Giazotto, El-Hkoury, Part, Elgar, Foster, Andre, and traditional selections. Daniel Hope, violin; Zurcher Kammerorchester; Ensemble Amarcord, Katta; Patrick Messina; Jacques Ammon; Thomas Hampson; Julia Okruashvili; Marie-Pierre Langlamet; Colin Rich; and the Palau de la Musica Vocal Quartet. DG 486 0541.By John J. Puccio“Hope is being able to see that there is light despite all of the darkness.” --Desmond Tutu“Music has a tremendous power. This album is my attempt to send out a ray of hope and to provide people, myself included, with a sense of support and perhaps even consolation.” --Daniel HopeFor those few who may not, perhaps, be completely familiar with Daniel Hope, he is a South African-born classical violinist (b. 1973) of world renown who is also the Music Director of the Zurich Chamber Orchestra and the New Century Chamber Orchestra. He plays the 1742 "ex-Lipinski" violin by Giuseppe Guarneri del Gesu.Hope conceived and […]
2020-02-17 11:34:00
[…] darkness, moreover, in the cracks between the music’s chamber dialogue and in its self-automated retransformation into fuller orchestral music. In what sense, however, is this a symphony, is this a symphonic movement? That, probably rightly, remained as unclear as ever. Balletic? Perhaps; it certainly had an iron structure that it does not always. The second movement was possessed of an uneasy yet – in its way – delightful interiority: another form of balletic self-automatic, Marie-Pierre Langlamet’s harp here as crucial as Majella Stockhausen’s piano in the first movement. A mechanistic brutalism that cannot fail to voice historical and political resonances once more characterised the finale, the goose-stepping soldiers of whom Stravinsky spoke coming vividly to death, all the more so for the music’s infernal catchiness. Desiccated woodwind clucking showed how an allegedly Haydnesque gesture could be transformed into something so dramatically lifeless. Repetition and even transformation, yet without development; the […]
2020-02-17 11:34:00
[…] darkness, moreover, in the cracks between the music’s chamber dialogue and in its self-automated retransformation into fuller orchestral music. In what sense, however, is this a symphony, is this a symphonic movement? That, probably rightly, remained as unclear as ever. Balletic? Perhaps; it certainly had an iron structure that it does not always. The second movement was possessed of an uneasy yet – in its way – delightful interiority: another form of balletic self-automatic, Marie-Pierre Langlamet’s harp here as crucial as Majella Stockhausen’s piano in the first movement. A mechanistic brutalism that cannot fail to voice historical and political resonances once more characterised the finale, the goose-stepping soldiers of whom Stravinsky spoke coming vividly to death, all the more so for the music’s infernal catchiness. Desiccated woodwind clucking showed how an allegedly Haydnesque gesture could be transformed into something so dramatically lifeless. Repetition and even transformation, yet without development; the […]
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