Louis Diémer Vídeos
compositor francés
- piano
- música clásica
- Francia
- pianista, compositor, pedagogo
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2024-04-28
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David Miller Florence Price Scott Joplin Ulysses Kay Kerr Bach Haydn Brahms Verdi Beethoven Handel Denyce Graves Whelan Ulysses Washington Savoyards 1899 1940 1951 1957 1989 1992 1993 1995 1996 1998 2002 2003 2005 2009 2010
Organist Marvin Mills plays the World’s Largest Pipe Organ. Marvin presents a varied program including numerous works by African-American composers in celebration of Black History Month, as well as several of his own compositions. Trumpet Tune in C Major (2005) – Aaron David Miller Suite for Organ: III. Air (1940) – Florence Price Maple Leaf Rag (1899) – Scott Joplin, Arr. Mills Talk About a Child That Do Love Jesus (1998) – Calvin Taylor Kum ba Yah (1993) – Emma Lou Diemer Oh Freedom (2003) – Adolphus Hailstork Two Meditations: Meditation I – Allegretto (1951) – Ulysses Kay Prelude on LAUDA ANIMA (2009) – Marvin Mills Arietta (1957) – Thomas Kerr Toccata on Good King Wenceslas (2009) – Marvin Mills Native Philadelphian Marvin Mills is organist at St. Paul’s United Methodist Church in Kensington, Maryland. He is also music director of the acclaimed National Spiritual Ensemble, and guest artist with the Ritz Chamber Players, based in Jacksonville, Florida. Previous positions include Associate Minister of Music at National City Christian Church, Director of Music at All Souls Church, Unitarian, and University Organist at Howard University, all in Washington, DC. Mr. Mills has performed for numerous chapters of The American Guild of Organists, was a featured recitalist in the Guild’s 1992 National, 1996 Centennial National conventions, and appeared at its 2010 Convention in Washington, DC. He opened the 1989 Wendell P. Whalum Concert Series at Morehouse College, performing for the entire student body. Presented in recital by the Washington National Cathedral in observance of Black History Month 1989, he was invited back for its 1995 and 2002 Summer Festival Series. For over a decade Mr. Mills has been a featured artist at the Shenandoah Valley Bach Festival as recitalist, chamber musician and choral conductor - preparing the Festival Chorus for major works such as: Haydn’s Creation, the Requiems of Mozart, Brahms and Verdi, Beethoven’s Symphony No. 9, and Handel’s Samson. A prize winning composer, his Four Spirituals for Denyce Graves have been performed throughout the country at colleges and universities by aspiring singers. A setting of a Phyllis Wheatley poem, On Virtue, was commissioned by the Cathedral of St. John the Divine for its Poets Corner. He made his theatrical conducting debut with the Washington Savoyards in its production of Scott Joplin’s Treemonisha in 2010 and is a vocal coach/staff pianist at Morgan State University. WE RELY ON YOUR DONATIONS to continue the restoration of the organs at Boardwalk Hall and to continue to present our weekly streamed recitals! To donate please visit (http•••) Donations can be mailed to: Historic Organ Restoration Committee 2301 Boardwalk Atlantic City, NJ 08401 Historic Organ Restoration Committee is presenting these recitals as part of an ongoing broadcast series of the organs of Jim Whelan Boardwalk Hall so that patrons can still enjoy the instruments while remaining socially distant. The recital is made possible in part by funds from the Atlantic County Office of Cultural and Heritage Affairs, a partner of the New Jersey State Council on the Arts
Tchaikovsky Modest Tchaikovsky René Chansarel Félix Louis Diémer Julien Tiersot 1871 1872 1874 1875 1876 1886 1900 1910 1946 2006
Tchaikovsky: Two Pieces for solo piano, Op. 10 (1872) I. Nocturne. Andante cantabile (F major) The Two Pieces (Deux morceaux) for solo piano, Op. 10 (TH 132 ; ČW 110 and 111), were written during the three weeks that Tchaikovsky spent in Nice around the start of 1872. A complete performance lasts approximately 7 minutes. Composition: According to Modest Tchaikovsky these two pieces were written between 24 December 1871/5 January 1872 and 29 January/10 February 1872 while the composer was staying in Nice, and the theme of the middle section of the Humoresque (No. 2) is based on the old French song 'La fille aux oranges', which Tchaikovsky heard in the French resort. Arrangements: In December 1876 the author arranged the Humoresque (No. 2) for violin with piano, at the request of Nadezhda von Meck. Performances: Nocturne (No. 1) was played in Tiflis, at a special RMS symphony concert on 19 April/1 May 1886, by Gennady Korganov. In France, the Humoresque (No. 2) was among Tchaikovsky's most-performed piano pieces before 1900, even though no-one appears to have noticed the quotation of a provençal song. The earliest public performance was by René Chansarel who played it at Félix Mackar's first "audition" on 2/14 January 1886. Louis Diémer interpreted the Humoresque on several occasions: Publication: The pieces were first published separately (in 1874 and 1875 respectively) by Pyotr Jurgenson, and were only printed together for the first time in February 1876. They were included in volume 51Б of Tchaikovsky's Complete Collected Works, edited by Ivan Shishov (1946). Autographs: The composer's manuscript scores of both pieces are now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 110). Dedications: Both pieces are dedicated to Tchaikovsky's friend Vladimir Shilovsky. Related Works: As mentioned above, Modest Tchaikovsky stated that the Humoresque (No. 2) used a popular song heard in Nice. Its title remained unknown until 2006, when it was identified as “La fille aux oranges”. Belonging to the regional folklore of Provence, the song, a dialogued dance ("ronde dialoguée") in the dialect of Southern France, was published only in 1910 by the musicologist Julien Tiersot. Thus, Tchaikovsky was the first to pay attention to this ethnological source, which he used in his Humoresque with slight differences from Tiersot's version.
Sigismond Stojowski Ignacy Jan Paderewski Henryk Bobiński Władysław Żeleński Anton Rubinstein Rubinstein Louis Diémer Léo Delibes Théodore Dubois Jules Massenet Tchaikovsky Brahms Busoni Bax Melcer Szczawiński Bortkiewicz 1619 1729 1852 1870 1887 1891 1909 1910 1946 1953 2002
Zygmunt Stojowski - Drugi koncert fortepianowy Composed from 1909-1910 Pianist: Witold Wilczek Conductor: Marek Wroniszewski Orchestra: Sinfonia Iuventus 0:00 - Prologue: Andante con Moto 8:10 - Scherzo: Presto 13:41 - Theme and Variations: Theme 14:49 - I. Molto Sostenuto 16:19 - II. Con espressione, poco rubato 17:29 - III. Piu mosso 18:52 - IV. Allegretto moderato 19:53 - V. Molto vivace 20:31 - VI. Con fuoco, agitato 21:37 - VII. Con moto energico 23:15 - VIII. Andante sostenuto 24:28 - IX. Andantino ben moderato 27:01 - X. Allegro molto Bio Zygmunt Stojowski +••.••(...)) was a Polish composer born in Strzelce (which is near Kielce), who would be best known for his friendship with Ignacy Jan Paderewski and his promotion of the Polish cause abroad. Stojowski would run through a gauntlet of incredible teachers beginning with Henryk Bobiński and Stanisław Dybowski among others in his youth. The Stojowski family moved to Kraków where took private lessons with Władysław Żeleński. His mother ran a music salon there, which is where he first met Ignacy Paderewski and Anton Rubinstein. After graduating in 1887, he moved to Paris to continue his musical education. There, he studied piano with Louis Diémer, composition with Léo Delibes, and harmony with Théodore Dubois. He consulted with Saint-Saëns and Jules Massenet, and he befriended Tchaikovsky and Brahms while in Paris. In 1891, he became a student of Ignacy Jan Paderewski. After graduating from the Paris Conservatory, he toured and gave concerts in England, France, Belgium, Germany, and Poland. He won a prize for his Symphony in D-Minor in Leipzig, and continued with much success. Despite this, he decided to move to New York and stayed there until his death. He taught at the Institute of Musical Art (a precursor to the Juilliard School of Music) and then the Von Ende School of Music all while giving private lessons. He won a reputation as an effective musical teacher. While he was abroad, he never ceased supporting the Polish cause. He founded the Polish Institute of Arts and Letters and worked for the Kosciuszko Foundation while also writing articles. In addition to music, he also studied philosophy and languages. He was fluent in English, German, Russian, French, Latin, and Ancient Greek in addition to his native Polish. All of this is to say that Stojowski had a cosmopolitan education with influences pouring in from across Europe. In the face of such a deluge of influence, he never forgot his homeland. His friendship with Ignacy Jan Paderewski and his dedication to promoting Polish culture ensured that he would remain close to his roots stylistically while integrating fresh ideas from other schools of music. The Piano Concerto By 1909, we start seeing some composers break away from the typical sonata-allegro form, reordering movements in their concerti. The structure of prologue, scherzo, and variations had once been incredibly unusual, but by this time, composers like Busoni and Bax had used 'prologue' movements to great effect. Other composers used programmatic names for movements in otherwise standard works. What we gleam from this is that the structure of the piano concerto can be bent and reshaped in new, interesting ways, and this concerto twists that structure around, forming something unique. Prologue - Setting the pace for this understated movement, the prologue states the fantastically hollywood-esque main theme at 2:39 after a slow introduction. The orchestration is subtle and the piano technique remains firmly grounded. Of course, there is some chromaticism and virtuosity, but it is neither flashy nor opulent. As the prologue makes its way, it restates the main theme (6:00) to set it firmly in the listener's memory. Taking advantage of the movement's earlier economy, the restatements fill the air with the full-blooded romantic brilliance that the listener eagerly awaits. Scherzo - Like the previous movement, there is something of Melcer-Szczawiński's 2nd piano concerto lurking here. The economic and patient use of time dotted by the piano and sparse, yet full orchestral figurations characterize an unexpected transition between the prologue and the more substantial 'theme and variations' movement. Theme and Variations - It is necessary to remember the prologue's lofty main theme here because the juxtaposition between it and the passionate, slow theme introduced here forms the basis for the whole movement (see 24:07, 25:50 orch, and obviously 30:42 and 33:13). We see everything here: storming virtuosity, cool, shimmering andantes, and a radiant climax prefiguring Bortkiewicz's 3rd piano concerto. At the very end, the tenth variation forms a stand-in finale movement. Info sources: (http•••) (http•••) (http•••) Imslp: (http•••)
Sigismond Stojowski Dux Ignacy Jan Paderewski Henryk Bobiński Władysław Żeleński Anton Rubinstein Rubinstein Louis Diémer Léo Delibes Théodore Dubois Jules Massenet Tchaikovsky Brahms Chopin Rachmaninoff 1606 1630 1701 1870 1887 1890 1891 1946 2002
*Re-Up with Dux Recording* Zygmunt Stojowski - Koncert fortepianowy fis-moll Pianist: Marek Szlezer Conductor: Marek Wroniszewski Orchestra: Sinfonia Iuventus 0:00 - Andante poco mosso 14:42 - Romanza. Andante sostenuto e molto cantabile 23:32 - Allegro con fuoco Biography Zygmunt Stojowski +••.••(...)) was a Polish composer born in Strzelce (which is near Kielce), who would be best known for his friendship with Ignacy Jan Paderewski and his promotion of the Polish cause abroad. His parents were incredibly talented people. His mother was well connected in the arts and in the aristocracy, so she served to be Stojowski's first piano teacher. Stojowski would run through a gauntlet of incredible teachers beginning with Henryk Bobiński and Stanisław Dybowski among others in his youth. The Stojowski family moved to Kraków where took private lessons with Władysław Żeleński. His mother ran a music salon there, which is where he first met Ignacy Paderewski and Anton Rubinstein. After graduating in 1887, he moved to Paris to continue his musical education. There, he studied piano with Louis Diémer, composition with Léo Delibes, and harmony with Théodore Dubois. He consulted with Saint-Saëns and Jules Massenet, and he befriended Tchaikovsky and Brahms while in Paris. In 1891, he became a student of Ignacy Jan Paderewski. After graduating from the Paris Conservatory, he toured and gave concerts in England, France, Belgium, Germany, and Poland. He won a prize for his Symphony in D-Minor in Leipzig, and continued with much success. Despite this, he decided to move to New York and stayed there until his death. He taught at the Institute of Musical Art (a precursor to the Juilliard School of Music) and then the Von Ende School of Music all while giving private lessons. He won a reputation as an effective musical teacher. While he was abroad, he never ceased supporting the Polish cause. He founded the Polish Institute of Arts and Letters and worked for the Kosciuszko Foundation while also writing articles. In addition to music, he also studied philosophy and languages. He was fluent in English, German, Russian, French, Latin, and Ancient Greek in addition to his native Polish. All of this is to say that Stojowski had a cosmopolitan education with influences pouring in from across Europe. In the face of such a deluge of influence, he never forgot his homeland. His friendship with Ignacy Jan Paderewski and his dedication to promoting Polish culture ensured that he would remain close to his roots stylistically while integrating fresh ideas from other schools of music. The Piano Concerto This concerto was composed in 1890 and premiered in Paris in 1891. If we trace back Stojowski's education, this concerto sounds nothing like Żeleński. Instead, it takes the cosmopolitan approach of Tchaikovsky and Paderewski with many echoes of Chopin. Overall, it feels somewhere between Chopin's concerti and Rachmaninoff's 1st piano concerto. Andante poco mosso - The introductory movement is absolutely vast. There are moments of subtilty that are reminiscent of Chopin and there are explosions of virtuosity and drama that bring Rachmaninoff and Tchaikovsky to mind. The first several bars set the stage for a dark, desolate movement, but the piano introduces itself and instantly pulls the concerto back to Chopin. This tension is what characterizes the 1st mvt. as the virtuosic transitions thunder between the sensitive, lyrical sections. What is important to note is that the lyrical sections do not always harken back to Chopin and the virtuoso sections do not always employ a cosmopolitan approach. For example, see how Rachmanovian the lyrical passage at 11:53 is and how Chopinesque the virtuosity is at 5:45. The final passage breaks through the subtilty and aggressively announces the triumph of the bold over the subtle. Romanza. Andante sostenuto e molto cantabile - The slow movement of the piece maintains the tension of the earlier movement. There is both Chopinesque and Rachmaninovian lyricism (compare 17:01 and 16:06). What is extremely interesting is that there is some repeated material that Stojowski snuck in from the 1st mvt. Compare the rhythm at 16:30 with the timpani at the beginning of the 1st mvt and it's subsequent restatements. The passage that begins at 20:37 is the most lyrical and heartfelt moment in the whole piece and contrasts the 1st mvt.'s bombastic ending. Allegro con fuoco - The stormy final movement showcases some of the best virtuosity the concerto has to offer. The melodies are dramatic and the texturing is forceful. Despite this, there are still plenty of lyrical passages to keep the finale from outrunning itself. Info sources: (http•••) (http•••) (http•••) Imslp: (http•••)
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- cronología: Compositores (Europa). Intérpretes (Europa).
- Índices (por orden alfabético): D...