Jon Weaving Vídeos
cantante de ópera australiano
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Debussy Ravel Bach Shostakovich Ramos Cayabyab Bautista Sims Montenegro 1830 1909 2021
Bedroom Concerto #1 2021, Dominic Laxamana. All rights reserved. In partial fulfillment of the requirements of MuP 196 Playing time: 47 minutes Bedroom Concerto #1 is a seven-movement opus for orchestra, granulated samples, and synthesized melodic and percussion instruments. It is a work that can be performed live in the concert hall, but due to limited resources accentuated by the Covid-19 lockdown, the recording for my graduation recital is created with MIDI programming and sampled playback. The accessibility of computer programs and recording equipment allows one to create his/her own cost-efficient large work created specifically for listening at home or on the go. The melodic weaving between synthesizer presets and orchestra is an extension of the impressionist orchestration innovated by Debussy and Ravel. Klangfarbenmelodie (tone-color melody) is also incorporated. Melodic synthesizers are assigned modulating timbres for smoothly shifting instrumentation via mod wheel automations. Regarding other elements of music, polyrhythms are used to create time-based textures. Chromaticism is employed for tonal obfuscation. The structure of the piece is a dialogue between musique concrète and a more familiar convention of orchestral music. A recurring motif, based on the pelog scale of the Indonesian gamelan, is heard throughout the whole opus in various transmutations. The theory of evolution serves as my narrative basis, with a specific focus on mankind’s struggle to live in harmony with nature. I. Prologue (02:17) The first movement prologue starts in the key of G# minor but the latter part is a musique concrète work created with the same orchestral renderings of the first part of the prologue, only to be cut, stretched, spliced, pitch-shifted, and filtered through various granular synthesizer effects (I used Hadron Granular Synthesizer). II. Sonata (06:45) Keeping with the tradition of symphonies and concertos (though not placed as the first movement), a sonata form in D# minor takes form as the second movement. III. Interlude 1 (18:30) The third movement, a concrète interlude, still utilizes the same orchestral samples as the prologue, but spliced and pitch shifted to anticipate motifs of the other movements (such as the subject of the succeeding fugue). The interlude ends with samples that are spliced to mimic the interlocking patterns of the Philippine gangsa commonly heard in the Cordillera highlands. IV. Fuga (23:56) The fourth movement is a fugue in C# minor. The contrapuntal basis for the fugue has a subject and three countersubjects. The four voices are spread across the performing groups. Instead of keeping a constant time signature like the fugues of Bach and Shostakovich, this fugue has shifting time signatures with callbacks to established motifs. The structure of the movement is one mise-en-scène exposition and eleven episodes of free counterpoint interjected with several codettas and strettos. V. Interlude 2 (34:16) The fifth movement, which is the second concrète interlude, is a recap of the primordial listening of the previous concrète sections after an exhibition of harmonies that humans have evolved to develop and appreciate. The inclusion of this interlude is a mere reflection of humanity being a synthesis of the past and present, whose future is determined by both its willpower and its uncontrollable probabilities. VI. Time Mandala (37:04) The sixth movement, Time Mandala, is chronologically the first conceived movement of the concerto. It is based on a derived pelog scale of the Indonesian gamelan and the idea had been expanded into the other orchestral movements. VII. Epilogue (48:16) The final movement is a concrète epilogue that features the whole orchestral recording of the prologue, albeit the recording being spliced and reversed, signifying the work has come full circle. Credits: Public domain clips provided by Pixabay.com Public domain photos of the cosmos by NASA Bob’s Electric Theatre (1909), dir. Segundo de Chomón Recital poster by Patricia Ramos Instagram: (http•••) Facebook: (http•••) Acknowledgements: UP College of Music, Diliman, Quezon City UP CMu College of the Office Secretary UP Conemus Prof. Josefino “Chino” Toledo Dr. Verne de la Peña Dr. Maria Christine Muyco Dr. Marie Jocelyn Marfil Prof. Mary Katherine Cabral Dr. Jonas Baes Dr. Beverly Shangkuan-Cheng Ms. Cristina Maria Cayabyab Kuya Jec Bautista Sims family Bongosia family Montenegro family Dr. Rodel Noreli E. Lorenzo Dr. Albert Magcalas Mang Fred’s MusiKolektibo Mga tambay sa gilid ng College of Music Last but not least, my family
Rachel Podger Haydn Orchestra Age Enlightenment
Buy now at: (http•••) It was a joy and an honour to record Mozart's Sinfonia Concertante such a beautifully crafted masterpiece with those memorable, elegant and distinctive themes in the first movement and both soloists weaving in and out of symphonic textures, the remarkable poignancy of the second movement with its dramatic dialogue which is then dispersed by sheer delight and comic playfulness in the Presto. Delving into these moods was personally enriching and helped me gain a little bit more insight into Mozart's genius and being. Pavlo and I had the extreme good fortune to play a Strad each! Generously loaned to us by the Royal Academy of Music for this project, we savoured every minute of having these esteemed and valuable instruments in our hands! 'Mine' is a proud instrument which demands careful negotiation and warming before it will expose it's beautiful colours. An amazing experience in itself to play an instrument like this, it was even more of an event when the two Strads met and 'spoke' to each other with a feeling of being acquainted, perhaps not for the first time...
Johann Strauss Schaefer Hofburg 2010
(29 Jan 2010) SHOTLIST AP Television Vienna, Austria, 22 January 2010 1. Wide of roofs in central Vienna 2. Mid of church roofs 3. Mid of Viennese City Park (Stadtpark) with ducks in water in foreground 4. Close of landmark statue of 19th century Austrian composer Johann Strauss 5. Zoom out of Japanese tourists playing violin next to statue AP Television Vienna, Austria, 21 January 2010 6. Wide shot people entering shop selling traditional Austrian clothes 7. Mid of shop window with traditional clothes 8. Close of dirndl in window 9. Interior of shop UPSOUND (German) "Hello, hello." 10. Shop owner Anna Tostmann holding Lederhose (leather pants), greeting customer 11. Mid of hat in shop window 12. SOUNDBITE (German) Anna Tostmann, Shop owner "Tostmann Trachten": "If you look at this one, it is made of three parts: a dirndl in one part like a dress, on top of it one should wear an apron and a white shirt." 13. Close of dirndls hanging 14. SOUNDBITE (German) Anna Tostmann, Shop owner "Tostmann Trachten": "Yes, for example, what is nice is that we have a lot of suppliers from Austria, for example, a silk or wool weaving mill that makes us those nice textiles, all our silk is fabricated in Vienna." 15. Various close-ups of books 16. SOUNDBITE (German) Anna Tostmann, Shop owner "Tostmann Trachten": "The hunters'' ball takes place in the Viennese Hofburg (imperial palace). In my opinion it is one of the most beautiful and festive balls and one of the most fun, because people don''t wear tuxedos or tailcoats but the men wear a Styrian suit and the ladies wear a dirndl and not some uncomfortable ball gowns." 17. Close of wooden shop logo 18. Wide of customer trying out aprons AP Television Vienna, Austria, 24 January 2010 19. Mid of horse carriage with National library and Imperial Palace Hofburg in background 20. Wide interior of opening ceremony rehearsal 21. Mid of opening committee rehearsing dance 22. Wide of posterbeing pulled up by workers 23. Zoom out of workers to wide of people rehearsing dance AP Television Vienna, Austria, 25 January 2010 24. Exterior of Hofburg entrance, people arriving for ball ++NIGHT SHOT++ 25. Tilt down of opening committee entering main ballroom 26. Mid shot chandeliers 27. Various top shots of opening dance 28. Mid of Thomas Schaefer-Elmayer, director of Elmayer Dance School UPSOUND (German) "Everyone waltzes and a lot of pleasure." 29. Top shot of people waltzing 30. Zoom out orchestra playing to wide of people walzing 31. Close up people walzing 32. Various of people drinking champagne 33. Close up of map showing various rooms available for ball in the Hofburg 34. Mid of man eating sausage 35. Close of sausage on plate 36. Various of people on stairs 37. Wide of oyster bar in room under palace roof 38. Various of oysters being opened 39. Close of hat 40. SOUNDBITE (German) Leo Nagy, Ball organiser: "This year we sold 6.500 ball tickets. Approximately 40 percent of the ball-goers are young people (under 25) and this is why this ball is so young. We have 12 music bands here, from discotheque and Heurige (typical Austrian wine tavern) to orchestras, there is something for everyone." 41. Mid of Tyrolean hunter Erich Peinstingl snuffing tobacco UPSOUND (German/Tyrolean dialect): "There is always room for one more." 42. Close tilt up from snuff box made of stag horn to Peinstingl UPSOUND (German/Tyrolean dialect): "You open it and put in the snuffing tobacco in it. I''ll have another snuff." 43. Wide of Peinstingl and friends at table inside Spanish Riding School performance room LEAD IN STORYLINE Find out more about AP Archive: (http•••) Twitter: (http•••) Facebook: (http•••) Instagram: (http•••) You can license this story through AP Archive: (http•••)
Franz Joseph Haydn Helmut Müller Brühl Brühl Charles Rosen Wolfgang Amadeus Mozart 1530 1779 1781 1792 1847
Franz Joseph Haydn: Symphony No. 75 in D major, Hob. I/75 (with Score) Composed: 1779-81 Conductor: Helmut Müller-Brühl Orchestra: Cologne Chamber Orchestra 00:00 1. Grave — Presto (D major) 06:34 2. Poco adagio (G major) 15:30 3. Menuetto: Allegretto — Trio (D major) 18:47 4. Finale: Vivace (D major) The Symphony No. 75 in D major (Hoboken 1/75) is a symphony composed by Joseph Haydn between 1779 and 1781. The opening slow introduction is marked Grave. The first theme features a lyrical rising half-step motif followed by three loud chords. Mozart wrote down this theme along with the openings of symphonies 47 and 62, presumably, as Charles Rosen noted, "with an eye to conducting them at his concerts." The second theme is very brief and also contains a rising half-step. The second theme is omitted from the recapitulation. The second movement is a theme in muted strings followed by four strophic variations. The second variation features a dialogue between wind & brass fanfares with simple string writing. The third features a solo string trio against a pizzicato accompaniment. Here, the solo cello plays continuously weaving sixteenth notes under the melody in the two other solo strings. Haydn reported a curious story during his first visit to London: "On 26th March 1792 at Mr Barthelemon's Concert, there was an English clergyman who sank into the deepest melancholy on hearing my Andante [here Haydn cites the opening of the second movement of Symphony No. 75], because the night before he had dreamt that such an Andante was a premonition of his death. — He immediately left the company and took to his bed, and today, the 25th of April, I learnt from Herr Barthelemon that this Protestant clergyman had died." Elaine Sisman has postulated that Wolfgang Amadeus Mozart modeled the slow movement of his Piano Concerto No. 15 on the second movement of this symphony. The fourth movement is "a rounded binary form with repeats of both halves," sometimes mistaken for sonata form.
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