Isadore Freed Vídeos
compositor, profesor de música, profesor universitario, pianista, organista, director de coro
- piano
- ópera
- Estados Unidos
Última actualización
2024-04-22
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Elwes Roger Quilter Cary Jacques Bouhy Henry Russell Agnes Nicholls Engelbert Humperdinck Handel Westmorland Charles Villiers Stanford Villiers Hubert Parry Kruse Edward Elgar Beethoven Harry Plunket Greene Greene Johannes Brahms Freed Ralph Vaughan Williams Thomas Dunhill Frank Bridge 1866 1885 1901 1903 1904 1912 1916 1921
The fine English tenor Gervase Elwes sings 'Cuckoo Song,' recorded c. June 1916. From Wikipedia:Gervase Henry Cary-Elwes, DL (15 November 1866 – 12 January 1921), better known as Gervase Elwes, was an English tenor of great distinction, who exercised a powerful influence over the development of English music from the early 1900s up until his death in 1921 due to a railroad accident in Boston at the height of his career. Elwes was born in Billing Hall, Northampton... Of the Northamptonshire and Lincolnshire landed gentry, he was educated at The Oratory School (a Roman Catholic school) and Woburn School, Weybridge, where he arrived in 1885, and finally at Christ Church, Oxford, where he was active as a cricketer and violinist. At the age of 22 he married Lady Winifride Mary Elizabeth Feilding... After Oxford he trained as a lawyer and diplomat, spending some years in Brussels, where he began his first formal singing lessons at the age of 28. However, he had to overcome a social convention which resisted a member of the upper classes becoming a professional singer, and it was not until the early 1900s, in his late thirties, that he gave his first professional performances in London. His principal teachers were Jacques Bouhy in Paris (1901–03), and in London Henry Russell and Victor Biegel, who remained his friend and teacher throughout his life. Bouhy asked him to decide between a baritone career in opera or a tenor career in oratorio and concert, and he chose the latter. His first professional appearance in London was opposite Agnes Nicholls, in Wallfahrt nach Kevlaar by Engelbert Humperdinck at the St James's Hall, with the Handel Society under J. S. Liddle in late April 1903, and immediately afterwards he appeared at the Westmorland Festival. In June 1903 he was auditioned at the Royal College of Music in London by Charles Villiers Stanford, who left the room and brought Hubert Parry in to hear him as well. The violinist Professor Kruse, who was then attempting to revive the Saturday 'Pops' at the St James's Hall jumped out of his chair and promptly engaged him, and it was Kruse who arranged for his first appearance in Edward Elgar's The Dream of Gerontius early in 1904 as an addition to his Beethoven Festival. Harry Plunket Greene, who had encouraged Elwes through this audition, also remained his lifelong friend. Elwes had a voice entirely in the English colouring, but with an unusual quality of sincerity and passion, and of considerable power. His diction and intonation were very secure, his delivery somewhat 'gentlemanly' but his phrasing long in conception and serving intense melodic inflections. His singing possessed a spiritual fervour... Victor Biegel, a 'little round, bald Viennese,' was for some time accompanist to the celebrated German lieder singer Raimund von zur-Mühlen and had a special understanding of the songs of Johannes Brahms, which he imparted to Elwes. There was a great rapport, and his teaching, especially during his six-month residence at Billing Hall (an Elwes estate) in 1903, completely freed and relaxed Elwes' voice, opening the way for the sustained power and brilliance of his upper register, and the vocal stamina which enabled him to maintain great oratorio roles (for which he was much in demand) with absolute conviction through a singing career of nearly two decades... But it was as singer of English art-song, and the friend of many leading English composers, that Elwes left his most permanent legacy. He was the dedicatee and first performer of (and the first person to record) Ralph Vaughan Williams song cycle On Wenlock Edge and many of the finest songs of Roger Quilter (including the cycle To Julia), both of whom wrote with his voice in mind. In 1912 he gave the first performance of Thomas Dunhill's song-cycle The Wind Among the Reeds for the Philharmonic Society. He had the wholehearted admiration of every generation from Charles Villiers Stanford to Frank Bridge, and their successors still acknowledge the authority of his influence. He was also a wonderful inspiration to leading British singers of his time, as their many private and published memorials testify... On 12 January 1921, Elwes was killed in a horrific accident at Back Bay railway station in Boston, Massachusetts, in the midst of a high-profile recital tour of the United States at the height of his powers. Elwes and his wife had alighted on the platform when the singer attempted to return to the conductor an overcoat that had fallen off the train. He leaned over too far and was hit by the train, falling between the moving carriages and the platform. He died of his injuries a few hours later. He was 54 years old. A week after the event, Edward Elgar wrote to Percy Hull, 'my personal loss is greater than I can bear to think upon, but this is nothing – or I must call it so – compared to the general artistic loss – a gap impossible to fill – in the musical world.'
This mantra in ancient Sanskrit, is a call for enlightenment and is practiced for purifying karma of the soul at a very deep level. It is said to be very beneficial for emotional and physical health. Mrityunjaya Mantra, also known as "Rudra mantra" is found in "Rig veda VII.59.12", "Yajur Veda III.60", Atharva Veda XIV.1.17", "Shiva Purana" among others. According to the legend Mantra was given by Lord Shiva himself to sage Sukracharya. / Oṁ houm om joom saha Boorbhuvassuaha== Tryambakaṁ yajāmahe sugandhiṁ puṣṭi-vardhanam ǀ Urvārukam-iva bandhanātmṛtyormukṣīya māmṛtāt / Boorbhuvassuvarom joom saha houm om ǁitiǁ== Meaning of Lyrics in English We worship the Three-eyed Lord who is fragrant and who nourishes and nurtures all beings. (1) As is the ripened cucumber (with the intervention of the gardener) is freed from its bondage (to the creeper), may he liberate us from death for the sake of immortality. (2) Word by word Meaning of Lyrics ॐ = oṁ = is a sacred/mystical syllable in Sanatan Dharma or hindu religions, i.e. Hinduism, Jainism, Buddhism, and Sikhism (symbol of ultimate reality). त्र्यम्बकम् = tryambakam, त्रि (Try=Three)+ अम्बकम् (Ambakam=Eyes)= “one who has three eyes” referring to Rudra or Siva who share the same attributes. (1) Firstly, in His ‘vishwaroopa’ or universal form, the three eyes symbolically signify the sun, moon and fire. Sunlight during the day, moon at night and fire in their absence signify illumination. (2) Secondly, the pair of eyes give sight to the material world and its experiences. The third eye is symbolic of ‘atma-jnana’ or knowledge of the Self through which one sees the higher reality. Kamadeva or Manmatha is the God of Desire perennially churning the mind and causing restlessness. यजामहे=yajāmahe = We worship, adore, honour, revere you सुगन्धिम् = sugandhim = sweet smelling, the fragrant (spiritual Essence). The fragrance The word in the mantra does not refer to physical fragrance, ie perfume but fragrance of character. Perfume emanates from a source and spreads to a reasonable distance. As such noble character spreads with warmth. पुष्टि = puṣṭi = A well-nourished condition, thriving, prosperous, fullness of life. वर्धनम् vardhanam = is one who nourishes, strengthens or restores (in health, wealth, well-being); a good gardener. उर्वारुकमिव urvārukamiva: उर्वारु, (Urvaaru=Cucumber) इव (Iva=Like, In the same manner)= like the cucumber, here ‘urva’ means ‘vishal’ or big, powerful or deadly. ‘Arukam’ means disease. Thus ‘urvarukam means deadly and overpowering diseases. The pumpkin or cucumber interpretation is given to show detachment. The diseases are those caused by the negative effects of the three gunas and therefore (a) ‘avidya’ – ignorance or falsehood and (b) ‘sadripu’ – a constraint of the physical body. बन्धनात् (bandhanāt)=means bound down, Bondage [of Samsara or Worldly Life]'I am bound down just like a cucumber (to a vine)'. मृत्यु (mrtyu) = Death मुक्षीय (mukṣīya) = Liberation मृत्योर्मुक्षीय mṛtyormukṣīya = Free, Liberate us from the fear of Death मामृतात् (Maa-Amrtaat): Liberate us from the death (for the sake of Immortality); मा (Maa) = Not, अमृत (Amrta) = Immortal
Giuseppe Verdi Valery Gergiev Galina Gorchakova Grigorian Putilin Vargas Georgy Zastavny Yevgeny Nikitin Mastro Laptev Francesco Maria Piave Freed Mariinsky Theatre Mariinsky Theatre Orchestra 1200 1808 1862 2014
English subtitles included From The Mariinsky Theatre, St Petersburg Valery Gergiev conducts this musically exhilarating production, which boasts superlative performances by Galina Gorchakova, Gegam Grigorian, and Nikolai Putilin with the dancers and actors from the Mariinsky Theatre Watch it again: (http•••) Grigory Karasev - Marchese di Calatrava Galina Gorchakova - Leonora di Vargas Nikolai Putilin - Don Carlo di Vargas Gegam Grigorian - Alvaro Marianna Tarasova - Preziosilla Sergei Alexashkin - Padre Guardiano Georgy Zastavny - Fra Melitone Lia Shevtsova - Curra Yevgeny Nikitin - Alcade Nikolai Gassiev - Mastro Trabucco Yuri Laptev - Chirurgo Mariinsky Theatre Orchestra Kirov Chorus and Orchestra Valery Gergiev - conductor Elijah Moshinsky - director Giuseppe Verdi - La Forza del Destino In the original St Petersburg version of I862 Libretto by Francesco Maria Piave 0:00 Act III: Attenti, gioco... Un asso a destra 3:57 Act III: La vita e inferno all infelice 12:00 Act III: Amici in vita e in morte 20:14 Act III: Morir tremenda cosa! 28:00 Act III: Compagni sostiamo, il campo esploriamo 42:32 Act III: Rataplan, rataplan della gloria 45:10 Act IV: Fate la carità (recitative) 48:44 Act IV: E vive! Ella vive, gran Dio! 1:18:23 Act IV: Pace pace mio Dio Subscribe to wocomoMUSIC: (http•••) Follow us on Facebook: (http•••) Verdi wrote his-epic Forza on commission from the Imperial Theatre of St Petersburg and it was premiered there in 1862. Written for a Russian audience, it ended in despair with the death of all three principal characters, rather than offering the religious consolation of the more familiar revised version. Freed from the need to satisfy a Catholic sense of forgiveness, Verdi showed that destiny catches up with the wrong-doer in the end. Elijah Moshinsky, the internationally-acclaimed director of this new Kirov production, draws a comparison between the Italian composer and his Russian contemporary Leo Tolstoy saying that “the writer’s concern to present the movement of history is prefigured in Verdi’s attempt to find scenes and melodies to express the force of destiny.” He sees the first version of Forza as a true synthesis between Italian operatic form and the Russian sense of history, and his awareness of this bond informs this powerful and dramatic production. Using reconstructions of the many magnificent painted backcloths and flats created for the 1862 premiere, and new costumes designed by Peter J. Hall which refer to Napoleon I’s empire-building campaigns of 1808-13, this is glorious grand opera at its most traditional. Licensed by Digital Classics Distribution #wocomoROMANTIC
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- cronología: Compositores (Europa). Directores de orquesta (Europa). Intérpretes (Europa).
- Índices (por orden alfabético): F...