Arthur Newman Vídeos
cantante de ópera, actor, actor de teatro
- barítono
- Estados Unidos
Última actualización
2024-05-08
Actualizar
Edward Elgar Andrew Staples Daniel Barenboim Fabre Rias Kammerchor Staatskapelle Berlin 2017
Provided to YouTube by Universal Music Group Elgar: The Dream of Gerontius, Op. 38 / Pt. 1 - Jesu, Maria, I am near to death · Andrew Staples · RIAS Kammerchor · Staatsopernchor Berlin · Staatskapelle Berlin · Daniel Barenboim Elgar: The Dream Of Gerontius, Op.38 ℗ 2017 Daniel Barenboim and Unitel GmbH & Co. KG, Oberhaching, Under Exclusive Licence to Decca Music Group Ltd Released on: 2017-07-01 Producer, Recording Producer: Friedemann Engelbrecht Studio Personnel, Recording Engineer: Sebastian Nattkemper Studio Personnel, Asst. Recording Engineer: Clémence Fabre Composer: Edward Elgar Author: John Henry Newman Auto-generated by YouTube.
James Horner David Newman Max Steiner 2013
On the first anniversary of James Horner's tragic death, we celebrate the legendary composer's greatest film scores with this concert. James called this 2013 concert the 'most special moment' of his life. David Newman conducts an orchestra and choir in performances of suites from Titanic, Avatar, A Beautiful Mind, Braveheart and more! 1. Hollywood In Vienna Fanfare 2. Metropolis - Prelude 3. Space Mountain - De La Terre A La Lune 4. Star Trek Suite 5. Gattaca - The Departure 6. A.I. (Artificial Intelligence) - Where Dreams Are Made 7. Independence Day Suite 8. Universal Fanfare 9. Star Trek II: The Wrath Of Khan - End Titles 10. Braveheart - End Titles 11. Horner Medley - Willow A Beautiful Mind Apollo 13 Aliens The Mask Of Zorro The Rocketeer 12. An American Tail - Somewhere Out There 13. Avatar - Suite 14. Legends Of The Fall 15. Titanic - Suite 16. Max Steiner Film Music Achievement Award - Presented to James Horner 17. The Land Before Time - If We Hold On Together
Bernard Herrmann Varèse 1355 1456 1951
Original Motion Picture Soundtrack (1951). Composed and Conducted by Bernard Herrmann. Also Conducting are Alfred Newman and Lionel Newman. Please note that the rights belong to the individual copyright holders. Get the Soundtrack: (http•••) Get the Movie: (http•••) Music Awards: - None Nominations: - Golden Globe - Best Original Score Playlist: 00:00 Studio Rehearsals & Studio Outtakes (with Herrmann advising conductor Lionel Newman) 00:16 Prelude / Outer Space / Radar 02:51 Danger 03:12 Arlington 04:05 Gort / The Visor and The Ray / The Telescope 04:47 Escape 05:35 Lincoln memorial 06:58 Nocturne / The Flashlight / The Robot / Space Control 08:54 Panic 09:30 The Glowing / Alone / Gort's Rage / Nikto / Captive / Terror 11:02 The Prison 11:38 Rebirth 13:05 Departure 13:55 Farewell 14:27 Finale 14:56 Studio Rehearsals & Studio Outtakes (Herrmann thanking for a successful take) Source: Varèse Sarabande CD Club VCL 1211 1128 (Bernard Herrmann At 20th Century Fox) More Information: (http•••) (http•••) This site contains affiliate links. If a purchase is being made through them, a commission (at no additional cost) could be made. Thanks for your support in this way!
Reynaldo Hahn Hahn Benjamin Baker Lowe James Baillieu Fauré Schubert Mendelssohn Cheek Bayreuth Messager 1874 1875 1921 1922 1947 2015
Reynaldo Hahn +••.••(...)) - Piano Quintet in F-sharp minor (1921) I. Molto agitato e con fuoco [0:00] II. Andante, non troppo lento [12:39] III. Allegretto grazioso [23:06] Benjamin Baker & Bartosz Woroch, violin Adam Newman, viola Tim Lowe, cello James Baillieu, piano (2015) Reynaldo Hahn's Piano Quintet is a work in three movements typically lasting around 28 minutes. "Hahn’s Piano Quintet was composed in 1922 and published the following year. Its opening is fresh, agreeably direct and completely without preamble. The style is both comfortably eclectic and unashamedly retrospective: modulation techniques suggest the most youthful works of Fauré, such as his A major Violin Sonata, Opus 13 (1875/6), while the natural songwriter’s intermittent taste for unassuming chordal repetition in the piano accompaniment to overt thematic exposition suggests a remote debt to Schubert. The music—and in particular its fleet-footed but economical piano part—has a deft, lucid mobility and an economy of rhetorical gesture far less easy to achieve than it sounds. A Dvorák-like openness and quasi-vernacular charm comes and goes, while at other times the pianist’s indefatigable ripplings suggest Mendelssohn’s piano-trio writing. A memorably successful second subject gives place to resourceful examination of both principal ideas. F sharp major expansiveness asserts itself late on in the movement, only to be subverted by the almost tongue-in-cheek terseness of a final return to the minor. The slow second movement presents a soulful, song-like theme in C sharp minor. Fauré seems to preside more closely over the unhurried triple time and the instrumentation itself. Tritonal opposition of non-cadential dominant sevenths and ninths enhance the ‘sidestepping’ effect of key changes, perhaps reminding one that the youthful Fauré had pursued Wagner performances to Bayreuth and to England in company with Messager in the eighteen-eighties, and suggesting that Wagnerian technique (not generally very apparent in Fauré’s stylistic make-up) might nonetheless be a productive subliminal influence for the perceptive Fauré disciple. This movement remains predominantly introverted, ostensibly heading towards a climax but then relaxing into the idyllic retrospection of an unexpected F major episode (ushering in a change of time signature). The dominant pedal note underpinning this passage conveys a certain quasi-rustic wistfulness which again suggests the prayer-like sensibility of certain quiet Dvorák chamber movements. Subsequent features include string unison writing (typical of Fauré) at moments of heightened intensity, ingenious combination of the themes from both foregoing sections (and time signatures), and a reprise of the secondary paragraph, heard now a semitone lower than before. The movement reaches an unhurried conclusion in the key of C sharp major. The Quintet’s third and last movement plays a time-honoured ‘is-it-a-scherzo/intermezzo-or-a-finale?’ game, launching itself with amiable simplicity as another would-be rustic conception over a musette-like pedal note. As this proceeds it begins to admit a touch of melodic ‘neo-Baroquery’. This, in studiedly perverse combination with the homespun wistfulness of the initial conception, seems almost to suggest the improbable intrusion of some synthetically conceived public school song. More to the point, it conveys a shrewdly misleading impression of much more episodic and unassuming structural thinking than is actually at work, as does the Schumannesque cleanness of the ensuing episode’s dialogue between melodic piano octaves and punctuating harmonic strings. Soon the main theme burgeons momentarily in E major. The thematic material of the first movement now becomes more prominent. Some ingeniously resourceful combination of these ideas with those of the slow movement ensues (embracing a mischievous false recapitulation in the key of F major, not F sharp) before a radiant statement of the inspired second subject from the work’s first movement bursts forth in A major. This, however, is not allowed to gain ideas above its station, and nor are we as near the end of the work as its appearance seems to suggest. The generalized example of Fauré and the specific one of Dvorák’s A major Piano Quintet seem to compete amicably (and convincingly) for the limelight. A recapitulation beset by agreeable sleights-of-hand extends the canonic and other possibilities of the music in an F sharp major coda which is in no hurry to end the proceedings but which, thanks to the memorably distinct nature of the principal themes, never threatens to outstay its welcome." (source: Hyperion)
o
- cronología: Cantantes líricos (Norteamérica).
- Índices (por orden alfabético): N...