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Paul Hindemith Weber Paul Sacher Yan Pascal Tortelier Tortelier Stevenson Basler Kammerorchester Bbc Philharmonic 1895 1923 1935 1938 1943 1951 1963
Paul Hindemith (16 November 1895 – 28 December 1963) was a prolific German composer, violist, violinist, teacher and conductor. In the 1920s, he became a major advocate of the Neue Sachlichkeit (new objectivity) style of music. Notable compositions include his song cycle Das Marienleben (1923), Der Schwanendreher for viola and orchestra (1935), and opera Mathis der Maler (1938). Hindemith's most popular work, both on record and in the concert hall, is likely the Symphonic Metamorphosis of Themes by Carl Maria von Weber, written in 1943. Please support my channel on (http•••) Symphonie „Die Harmonie der Welt“ (The Music of the Spheres) Dedication: Geschrieben für Paul Sacher und das Basler Kammerorchester zum fünfundzwanzigsten Geburtstag des Orchesters I. Musica Instrumentalis (0:00) II. Musica Humana (10:42) III. Musica Mundana (20:30) BBC Philharmonic conducted by Yan Pascal Tortelier Description by Joseph Stevenson This symphony is drawn from an opera about Johannes Kepler, the great astronomer who deduced the laws of orbital motion. Kepler was looking for the exact, perfect geometrical forms / circles, squares, equilateral triangles, and the like, that he believed must describe planetary motion. He called concept "The Harmony of the Universe, " (in German, Harmonie der Welt). Ironically, he discovered that there are no such relationships concerning spacing of the planets, and also that they move not in circular but in elliptical orbits, and not even at constant speeds. The symphony has three movements, "Machine Music, " "Human Music, " and "World Music." The three movements progressively seek to illuminate higher and higher spheres of musical/astrological imagery and musical purity. The music itself is high-minded and seeks to be free from human passions (except the passion for enlightenment), and seems at times to glow with an inner radiance.
Basler Kammerorchester Paul Sacher Esposito Johann Sebastian Bach 1956 2015
Provided to YouTube by Believe SAS Brandenburg Concerto No. 1 in F Major, BWV 1046: I. — · Basler Kammerorchester, Paul Sacher, Rodolfo Felicani, Edgar Shann, Umberto Baccelli, Cesare Esposito Bach: Concertos brandebourgeois Nos. 1 & 6 (Mono Version) ℗ 1956 - BNF Collection 2015 Released on: 1956-01-01 Composer: Johann Sebastian Bach Music Publisher: D.R Auto-generated by YouTube.
Basler Kammerorchester Paul Sacher Esposito Johann Sebastian Bach 1956 2015
Provided to YouTube by Believe SAS Brandenburg Concerto No. 1 in F Major, BWV 1046: IV. Menuetto - Trio I - Polacca - Trio II · Basler Kammerorchester, Paul Sacher, Rodolfo Felicani, Edgar Shann, Umberto Baccelli, Cesare Esposito Bach: Concertos brandebourgeois Nos. 1 & 6 (Mono Version) ℗ 1956 - BNF Collection 2015 Released on: 1956-01-01 Composer: Johann Sebastian Bach Music Publisher: D.R Auto-generated by YouTube.
Igor Stravinsky Paul Sacher Burden Bournemouth Sinfonietta Basler Kammerorchester Apollon Musagète 1919 1920 1927 1928 1937 1938 1944 1945 1946 1947 1948 1951
Concerto in D, for string orchestra in D major ("Basel Concerto"), (1946) I. Vivace II. Arioso (5:51) III. Rondo (8:36) Bournemouth Sinfonietta Richard Studt Paul Sacher's 1946 commission for a work to celebrate the 20th anniversary of the founding of his Basler Kammerorchester was Stravinsky's first European commission after moving to America. Stravinsky began the composition on the Concerto in D in early 1946 and completed it on August 8 of the same year in his home in Hollywood. The work received its first performance by Sacher and the Basler Kammerorchester on January 27, 1947, in Basel, and the work is dedicated to them. For this reason the work is sometimes referred to as the "Basle Concerto." Written for string orchestra, the Concerto in D was Stravinsky's first work for string orchestra since Apollon Musagète +••.••(...)). It is approximately the same length and in approximately the same form as the Dumbarton Oaks Concerto +••.••(...)) and the Ebony Concerto (1945), which directly preceded the composition of the Concerto in D. All three works are in three movements in the fast-slow-fast order of the Baroque concerto grosso, and all three works feature the contrast of concertino and ripieno typical of the concerto grosso. In the Concerto in D, the movements are Vivace, Arioso: Andantino and Rondo: Allegro. The opening Vivace is roughly in sonata form; that is, the outer section functions as an exposition whose themes are repeated in approximately the same order at the movement but the central section is in a slower Moderato tempo. The central Arioso: Andantino features one of Stravinsky's few long, lyrical melodies for violins, punctuated twice by perfect cadences in unrelated keys. The concluding Rondo: Allegro is longer than the first two movements together and is in Stravinsky's typical middle-1940s spiky rhythm. The Concerto in D was one of Stravinsky's last tonal works. Only Orpheus (1947), the Mass (1944/1947) and The Rake's Progress +••.••(...)) followed it. Although at the time of its composition it seemed to be another in the series of pastiche works Stravinsky had composed since Pulcinella +••.••(...)) / works that used the styles of earlier composers to furnish Stravinsky with the raw material for his compositions / the Concerto in D and Orpheus have come to be viewed retrospectively as the tired works of a composer for whom style and tonality had become a burden. [allmusic.com] Art by Jean Cocteau
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