Teodoro Cottrau Vídeos
compositor italiano
- Reino de Italia
- compositor, poeta, escritor, periodista, letrista, compositor de canciones, político, literato, editor
Última actualización
2024-05-14
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Enrico Caruso Teodoro Cottrau Guillaume Louis Cottrau 1797 1827 1847 1849 1879 1916
A digitally remastered version of the original recording from 20th of March 1916. I generally don't like these remasterings as Caruso's voice is often distorted, but this one is OK I think and more palatable for most listeners. For more Caruso info visit my website: (http•••) Santa Lucia is a traditional Neapolitan song. It was transcribed by Teodoro Cottrau +••.••(...)) and published by the Cottrau firm, as a "barcarolla", at Naples in 1849. Cottrau translated it from Napuletano into Italian during the first stage of the Risorgimento, the first Neapolitan song to be given Italian lyrics. Its transcriber, who is very often credited as its composer, was the son of the French-born Italian composer and collector of songs Guillaume Louis Cottrau +••.••(...)). The Neapolitan lyrics of "Santa Lucia" celebrate the picturesque waterfront district, Borgo Santa Lucia, in the Bay of Naples, in the invitation of a boatman to take a turn in his boat, the better to enjoy the cool of the evening.
Franz Liszt Beethoven Woo Rossini Guillaume Louis Cottrau Cottrau 1797 1835 1838 1842 1847
Happy Birthday Liszt! (kinda late, but i think it still counts.) Années de pèlerinage (French for Years of Pilgrimage) (S.160, S.161, S.163) is a set of three suites for solo piano by Franz Liszt. Much of it derives from his earlier work, Album d'un voyageur, his first major published piano cycle, which was composed between 1835 and 1838 and published in 1842. Années de pèlerinage is widely considered as the masterwork and summation of Liszt's musical style. The third volume is notable as an example of his later style. Composed well after the first two volumes, it displays less virtuosity and more harmonic experimentation. The title Années de pèlerinage refers to Goethe's famous novel of self-realization, Wilhelm Meister's Apprenticeship, and especially its sequel Wilhelm Meister's Journeyman Years (whose original title Wilhelm Meisters Wanderjahre meant Years of Wandering or Years of Pilgrimage, the latter being used for its first French translation). Liszt clearly places these compositions in line with the Romantic literature of his time, prefacing most pieces with a literary passage from writers such as Schiller, Byron or Senancour, and, in an introduction to the entire work, writing: Having recently travelled to many new countries, through different settings and places consecrated by history and poetry; having felt that the phenomena of nature and their attendant sights did not pass before my eyes as pointless images but stirred deep emotions in my soul, and that between us a vague but immediate relationship had established itself, an undefined but real rapport, an inexplicable but undeniable communication, I have tried to portray in music a few of my strongest sensations and most lively impressions. Venezia e Napoli is usually waved away as a rather insignificant group of encore pieces, but while they are obviously lighter fare, they merit high praise for their sheer beauty and ingenuity. Each piece is based on what was familiar material in the streets of Italy at the time of their conception. Gondoliera is described by Liszt in the score as La biondina in gondoletta—Canzone di Cavaliere Peruchini (Beethoven’s setting of it, WoO157/12, for voice and piano trio just describes it as a Venetian folk-song, and Peruchini remains elusive) and he treats it in a much gentler way than in the earlier version with a particularly fine verse with tremolo accompaniment; the tremolo guides a very dark musing upon Rossini’s Canzone del Gondoliere—‘Nessùn maggior dolore’ (Otello) which itself recalls Dante’s Inferno (‘There is no greater sorrow than to remember past happiness in time of misery’); and the Tarantella—incorporating themes by Guillaume Louis Cottrau (1797–1847)—emerges from the depths, much more subtle than in its previous, primary-coloured garb, but ultimately triumphantly boisterous. Intro [00:00] I. Gondoliera (Gondolier's Song) in F♯ major [00:07] II. Canzone (Canzone) in E♭ minor [05:15] III. Tarantella (Tarantella) in G minor [08:27]
Beniamino Gigli Antonio Cesti Arrigo Boito Pasquali Claudio Monteverdi Ethelbert Nevin Fabio Campana Franz Schubert Frédéric Chopin Gaetano Donizetti George Frideric Handel Giacomo Puccini Giuseppe Giordani Giuseppe Pietri Giuseppe Verdi Giuseppe Luca Borgmann Luigi Denza Martinez Pietro Mascagni Zamboni Rito Selvaggi Teodoro Cottrau Wolfgang Amadeus Mozart Scala 2000
Provided to YouTube by IIP-DDS La Maggiolata Veneziana, Act I: "Ballata" · Beniamino Gigli · La Scala Orchestra Milan · Umberto Berrettoni The Art Of Beniamino Gigli, Vol. 3 ℗ PnR Released on: 2000-01-01 Composer: Antonio Cesti Composer: Arrigo Boito Artist: Beniamino Gigli Composer: Bernice De Pasquali Composer: Chauncey Olcott Composer: Claudio Monteverdi Composer: Dan Caslar Composer: Dino Fedri Composer: Enrico Sivieri Composer: Ethelbert Nevin Composer: Fabio Campana Composer: Franz Schubert Composer: Frédéric Chopin Composer: Gaetano Donizetti Composer: George Frideric Handel Composer: Giacomo Puccini Composer: Gioacchino Angelo Composer: Giuseppe Capolongo Composer: Giuseppe Giordani Composer: Giuseppe Pietri Composer: Giuseppe Verdi Composer: Giuseppe de Luca Composer: Hans-Otto Borgmann Composer: Holgar Artist: La Scala Orchestra Milan Composer: Luigi Denza Composer: Luis Rubistein Composer: Manlio Di Veroli Composer: Marcella Puppini Composer: Marisa Volonnino Composer: Michael William Composer: Odaline de la Martinez Composer: Pietro Mascagni Composer: Riccardo Cocciante Composer: Rinaldo Zamboni Composer: Rito Selvaggi Composer: Teodoro Cottrau Artist: Umberto Berrettoni Composer: Unknown Composer: Valerio Vanuzzi Composer: Wolfgang Amadeus Mozart Auto-generated by YouTube.
Franz Liszt Guillaume Louis Cottrau Cottrau Hasegawa 1840 1859
This tarantella is the third of three works comprising Liszt's Venezia e Napoli (Venice and Naples), issued as a supplement to Italie, the second of three volumes of his series of piano works issued under the collective title Années de Pèlinerage (Years of Pilgrimage, or Travel). While the three pieces in Venezia e Napoli were composed in 1859, like many of Liszt's works, they were drawn on earlier versions dating to around 1840. The first version of this piece was entitled Tarantelles Napolitaines. This tarantella is the largest and most musically substantial of the three works in the set. Based on a melody by Guillaume Louis Cottrau, it is really a fantasy expressing many moods, not simply a composition confined to the tarantella dance form. The piece opens with a Presto whose frantic manner right off portends ominous things ahead, but the music quickly lightens and turns playful. The mood turns appropriately songful in the "Canzone napoletana" section that follows. The concluding Prestissimo brims with color and excitement, the theme transforming into a witty, driving creation that races headlong to a spectacular finish that Liszt deftly delivers. The piece typically lasts seven or eight minutes. Credits to: Koichi Hasegawa Original Music: Franz Liszt (1859)
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