Jesse M. Winne Vídeos
compositor
Conmemoraciones 2024 (Muerte: Jesse M. Winne) 2025 (Nacimiento: Jesse M. Winne)
- Estados Unidos
Última actualización
2024-04-28
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Mediaeval Baebes Bales Wye Wille Glade Brade Ware Winne 2005
Pearl + Return of the Birds [Pearl] The dubberment dere of down and dales Of wode and water and wlonk plaines Bilde in me bliss, abated my bales Forbidden my stress, destroyed my paines Down after a strem that drightly hales I bowed in bliss, bredful my branes The firre I folwed those floty vales The more strength of joye myn herte straines As fortune fares theras ho fraines Whether solace ho sende other elles sore The wye to wham hir wille ho waines Hittes to have ay more and more More of wele was in that wise Than I couth telle thagh I tom hade For erthly herte might not suffise To the tenthe dole of tho gladness glade For thy I thoght that paradise Was there other gain tho bonkes brade I hoped the water were a devise Between mirthes by meres made Beyonde the brook, by slent other slade I hoped that mote inerked wore Bot the water was depe, I dorst not wade And ever me longed ay more and more More and more and yet well mare Me liste to see the brook beyonde For if hit was fair there I can fare Well loveloker was the firre londe Aboute me con I stote and stare To finde a forth faste con I fonde Bot wothes mo ywis there ware The firre I stalled by the stronde And ever me thoght I shokle not wonde For wo there weles so winne wore Thenne newe note me com on honed That meved my minde more and more / [Modern English Translation thanks to PaganLyle] The rich splendour of the downs and dales The woods, the rivers and the fertile fields Baised within me, joy and on to my sorrows They dispelled my grief and destroyed my pain I followed the fast flowing stream My mind overflowing with exultation And the deeper I went into those watery gorges The more my heart pounded with The strength of overwhelming joy For as fortune tends, whatever she sends To repay first circumstance in dividends Yet moreover and more Given all the time in the world I could not explain all the delight I found there A human heart has not room enough To feel even a tenth of those joyous pleasures Therefore I thought that paradise Was only on the broad bank opposite And I thought the water was only a diversion Between two pleasure gardens made my waters I suppose the celestial city lay Across the brook on the other side of the sloping valley But the water was deep and I dared not wade over Although I longed to get across yet moreover and more More and more and yet moreover I yearned to see beyond the brook For though it was beautiful where I walked The other side was lovlier by far I stopped and sought for a safe place to cross But the further I looked the more dangers I found I knew I should not hesitate Because of any difficulty Where joys were so intensely delightful Then something new came to my judgement And the wonder in my mind grew Yet moreover and more / / [Return of the Birds, Mirabilis (2005)] Laetabundus rediit avium concentus, ver iocundum prodiit, gaudeat iuventus, nova ferens gaudia; modo vernant omnia, Phoebus serenatur, redolens temperiem, novo flore faciem Flora renovatur. Aestivant nunc Dryades, colle sub umbroso prodeunt Oreades, coetu glorioso, Satyrorum concio psallit cum tripudio Tempe per amoena, his alludens concinit, cum iocundi meminit veris, philomena. Applaudamus igitur rerum novitati. felix qui diligitur voti compos grati, dono laetus Veneris, cuius ara teneris floribus ordorat. miser e contrario qui sublato brabio sine spe laborat / [ENGLISH TRANSLATION] The wandering birdsong choir is returning joyfully home spring makes her gleeful entrance all that is young rejoices at the fresh delight she brings all at once all is green sunny Phoebus smiles serenely the air smells sweet and temperate the landscape blooms anew Flora's been restored to life. Now the Dryads can spend summer cavorting in the shade where the Oreads show themselves all greeting each other splendidly a string band of Satyrs zithers away, hooves stomping delighted, the Tempe valley joins in with the festivities alight with newly-remembered joy it's all true, nightingale. Let's show our appreciation, then at the newness of all things happy be he who is chosen his wish will be graciously granted offer joyful thanks to Venus let her altar be bedecked most reverently with flowers wretched be he, however, who deems himself above such things for he will certainly strive in vain
Johann Friedrich Fasch Streicher Winne Huybrechts Carlier Shalev Il Gardellino 1688 1758
Johann Friedrich Fasch +••.••(...)) Concerto for trumpet, 2 oboes, strings and basso continuo in D major, FWV L: D1 Konzert Für Trompete, 2 Oboen, Streicher Und Basso Continuo D-Dur, FWV L: D 1 01. Allegro 02. Largo 03. Tempo di menuetto: Allegro Performer: Trumpet: Alain De Rudder (solo) Solo Violin: Ryo Terakado Violins: Sophie Gent, Annelies Decock, Daunta Zawada Violas: Mika Akiha, Kaat De Cock Cellos: Benjamin Glorieux, Thomas Luks Double-bass: Frank Coppieters Flutes: Jan De Winne, Sien Huybrechts Bassoons: Alain De Rijckere, Jean Francois Carlier Oboes & Oboe da caccia: Marcel Ponseele, Taka Kitazato Timpani: Koen Plaetinck Harpsichord: Shalev Ad-el Il Gardellino [on period instruments] / Artwork: A Lavish Rococo Fête Galante
Winne Löffler Enrico Onofri Peter Van Heyghen 2017
The International Competition Musica Antiqua will focus on melodic instruments in 2017: recorder, baroque flute, baroque oboe, baroque violin, baroque cello & viola da gamba. Johan Huys - BE, Jan De Winne - BE, Xenia Löffler - DE, Dorothee Oberlinger - DE, Enrico Onofri - IT, Marco Testori - IT, Mieneke van der Velden - NL and Peter Van Heyghen - BE (only preselections) are the members of the jury.
Johann Sebastian Bach Philippe Herreweghe Evangelista Ian Bostridge Selig Sibylla Rubens Rubens Andreas Scholl Werner Güra Dietrich Henschel Henschel Pilati Dominik Wörner Elisabeth Hermans Puhlmann Kunz Wouters Paul Hörmann Chamorro Oppo Preuss Puig Davin Clement Philippe Pierlot Pierlot Pap Winne Velde Vries Visser Benoit Haller Berghe Mira Glodeanu Hager Munro Verhelst Streben Weise Collegium Vocale Gent Schola Cantorum Leipziger 1599 1600 1685 1727 1750
Johann Sebastian Bach (1685 – 1750) St. Matthew Passion, BWV244 Oratorio in three parts for solo voices, double choir and double orchestra Matthäus-Passion, BWV 244 Oratorium in drei Teilen für Solostimmen, Doppelchor und Doppelorchester Libretto: Christian Friedrich Henrici (Picander) The first performance at the St. Thomas Church in Leipzig, on 11 April 1727 Erster Teil (00:00:00) Zweiter Teil (01:02:19) Zweiter Teil ''Ende'' (01:59:00) Soloists: Evangelista: Ian Bostridge, tenor Jesus: Franz-Joesf Selig, bass Sibylla Rubens, soprano Andreas Scholl, alto Werner Güra, tenor Dietrich Henschel, bass Pilatus: Dietrich Henschel, bass Uxor Pilati: Sibylla Rubens, soprano Judas, Pontifex I: Frits Vanhulle, baritone Petrus, Pontifex II: Dominik Wörner, bass Testis I & II: Andreas Scholl, alto / Werner Güra, tenor Ancilla I & II: Elisabeth Hermans & Susan Hamilton, sopranos Choeur I Sopranos: Elisabeth Hermans, Cecile Kempenaers, Simone Manders, Leenke de Lee, Sabine Puhlmann Altos: Beat Duddeck, Roland Kunz, Mieke Wouters Tenors: Gerhard Hölzle, Paul Hörmann, Warren Trevelyan-Jones Basses: Florian Mehltretter, Frits Vanhulle, Hans Wijers, Dominik Wörner Orchestre I Violins: Sirkka-Liisa Kaakinen, Adrian Chamorro, Therese Kipfer, Corrado Masoni, Giorgio Oppo, Andreas Preuss, Veronika Skuplik Altos: Catherine Puig, Nadine Davin, Brigitte Clement Violoncelles: Ageet Zweistra*, Vincent Malgrange Viole de gamba solo: Philippe Pierlot Contrebasse: Nicholas Pap Flutes & flutes a bec: Patrick Beuckels, Jan De Winne Hauthbois: Marceel Ponseele *Hauthbois d’amour, Taka Kitazato °Hauthbois da caccia Basson: Philippe Miqueu Orgue: Herman Stinders Continuo: Violoncelle: Ageet Zweistra Contrebasse: Nicholas Pap Orgue: Herman Sinders Choeur II Sopranos: Goedele Debelder, Lut Van de Velde, Dominique Verkinderen, Susan Hamilton Altos: Lisinka de Vries-Schuring, Martin van der Zeijst, Lotte Visser Tenors: Otto Bouwknegt, Markus Schuck, Benoit Haller, Rene Veen Basses: Pieter Coene, Paul Van den Berghe, Robert van der Vinne, Bart Vandewge Ripieno I Schola Cantorum Cantate Domino Dir. Michael Ghljs Orchestre II Violins: Alessandro Moccia, Roberto Anedda, Meike Augustin, Virginie Descharmes, Mira Glodeanu, Attilio Motzo, Christophe Robert, Enrico Tedde Altos: Benoit Weeger, Jean-Luc Thonnerieux Violoncelles: Harmen Jan Schwitters, Hager Hanana Contrebasse: James Munro Hauthbois: Patrick Beaugireaud, Yan Miriel *Hauthbois d’amour Basson: Margreet Bongers Orgue: Kris Verhelst Choeur et Orchestre du Collegium Vocale Gent Philippe Herreweghe [on period instruments] / Artwork: Martyrdom of St. Matthew by Caravaggio, 1599-1600 Als Bach für die Leipziger Thomaskirche die Komposition der Matthäus-Passion in Angriff nahm, hatte er eine großangelegte musikalische Architektur im Sinn, sowohl in Hinsicht auf den rhetorischen Aufbau als auch die klangliche Vielschichtigkeit (mit zwei Chören und zwei Orchestern). Dieses Vorhaben ist ihm zur Vollendung gelungen: das Streben nach dem Absoluten, das zutiefst Aufwühlende, gleichzeitig so Ausgewogene und so Bebende dieser Klangmasse, veranschaulichen auf umwerfende Weise den letzten Gang Jesu. Rezensionen R. Emans in FonoForum 12 / 99: "Insgesamt gelingt Herreweghe eine grandiose Interpretation, die auch den Hörer, der bereits mehrere Einspielungen kennt, immer wieder tief ergreift."
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- cronología: Compositores (Norteamérica).
- Índices (por orden alfabético): W...