Mads Tolling Vídeos
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- música clásica, jazz
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2024-04-28
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André Previn Rachmaninov Henry Wood Sheila Armstrong Robert Tear John Shirley Quirk Tolling Stern Prokofiev Henry Wood Promenade Concerts Royal Albert Hall London Symphony Orchestra 1820 1873 1968 1973
André Previn's illustrious career began with Hollywood musicals, both as arranger and composer. He was also a celebrated jazz pianist and later gained international fame as a classical orchestral maestro. In 1968 he was appointed Principal Conductor of the London Symphony Orchestra with whom he made numerous television appearances. He appeared several times at the Henry Wood Promenade Concerts in London's Royal Albert Hall, one occasion marking the Rachmaninov Centenary on 26 July 1973. This Centenary concert included the Proms Premiere of "The Bells," a choral symphony which utilized a free setting of the poem by Edgar Allen Poe. In addition to the LSO Chorus, the three soloists were Sheila Armstrong, Robert Tear and John Shirley-Quirk. The four movements are: (1) 0:55 - 'The Silver Sleigh Bells' - "Listen, hear the silver bells! Silver bells! ... Hear the sledges with the bells, how they charm our weary senses with a sweetness that compels ..." (2) 7:30 - 'The Mellow Wedding Bells' - "Hear the mellow wedding bells! Golden bells! ... What a world of tender passion their melodious voice foretells ..." (3) 18:20 - 'The Loud Alarum Bells' - "Hear them, hear the brazen bells! ... Hear the loud alarum bells! In their sobbing, in their throbbing, what a tale of horror dwells ..." (4) 26:10 - 'The Mournful Iron Bells' - "Hear the tolling of the bells! Mournful bells! ... Bitter end to fruitless dreaming their stern monody foretells ..." The performance is available on an 'ICA Classics' DVD along with music by Prokofiev (ICAD5038), This video is being published on Rachmaninov's birthday. He was born on 1 April 1873.
August Stradal Franz Liszt Tolling 1830 1848 1850 1857
"Héroïde funèbre, S.102, is a symphonic poem written by Franz Liszt in 1850 and published in 1857 as No. 8. The work originated as the first movement of a planned Revolutionary Symphony inspired by the July Revolution. Liszt pays homage in this programmatic symphonic poem to the soldiers and men that died fighting in revolutionary efforts. The composition of this piece was started in 1830 as a brief sketch for a full symphony, but was dropped by Liszt in the continuing of other works. However, in 1848, there was an uprising in Liszt's home country of Hungary. One of Liszt's friends was killed during this revolution, which caused Liszt to revisit his now 20 year old sketch of the Revolutionary Symphony, shortening it and forming the first movement into the commemorative Héroïde funèbre. Liszt said of the program, "In these successive wars and carnages, sinister sports, whatever be the colours of the flags which rise proudly and boldly against each other, on both sides they float soaked with heroic blood and inexhaustible tears. It is for Art to throw her ennobling veil over the tomb of the brave, to encircle with her golden halo the dead and dying, that they may be the envy of the living." Héroïde funèbre takes the form of a funeral march, divided up into several sections. The work relies heavily on the use of Hungarian chordal structure and scales, as well as the use of a field snare that introduces the ominous draw of this highly expressive march. It is written in the relative minor of Ab, otherwise known as the key of F minor. The first section states the main theme, which is a combination of Hungarian melodies and droning low strings to create a longing cry for those deceased. This theme is passed around the winds and strings of the orchestra, and at times there is a soft accompaniment of bells and chimes, indicating the tolling of funeral bells. These bells come back stronger near the end of the section in tandem with a rapid succession of chromatic notes played by the strings, adding to the tone of absolute devastation at the loss of friends and allies. The section comes to a close with a restatement of the rolling snare, restating the idea of a military funeral. The next section is much less anguished in tone, instead relying on a hauntingly nostalgic melody in the upper winds to portray the sorrow felt at the loss. In this section, Liszt also introduces a theme played on the brass that heavily reassembles a part of La Marseillaise, the national anthem of France. In the third and final section, Liszt restates the dramatic theme from the beginning, as well as including small bursts of hopeful moments taken from the second section and La Marseillaise. Finally, the piece ends with sombre chorale-like chords in the key of F minor and the rolling of the snare that started the piece." (Wikipedia) Many thanks to tastyFrMusic for recording the Synthesia video! His channel: (http•••) The Symphonic Poems playlist: (http•••) Our Discord server: (http•••)
Frédéric Chopin Bach Liszt Schumann Bülow Tolling Camille Pleyel Pleyel Joseph Christoph Kessler 1835 1839
Frédéric Chopin wrote his Preludes, Op. 28, between 1835 and 1839, the year when the set was published. The cycle consists of 24 pieces for solo piano, one in each of the 24 keys (much like Bach's Well Tempered Clavier), and organized according to the circle of fifths. Chopin's preludes are carefully planned, self-contained miniatures which avoided the improvisatory feeling associated with the 'prelude' name. This led some critics to consider them incomplete pieces. Liszt, however, saw them as innovative and poetic. Although each work can stand alone, some scholars have suggested that the collection is one large work with twenty-four pieces, citing motivic connections among the preludes, and even musical connections from the ends of some preludes to the beginnings of others. Chopin never played all twenty-four in a row in a public performance. In fact, he never played more than four in concert. Neither did he give them evocative names, like Schumann and Liszt did for some of their pieces that were of a similar character. Hans von Bülow suggested some names for the preludes like Reunion, Tolling Bells, The Polish Dancer, and Raindrop. The preludes were dedicated to Camille Pleyel and Joseph Christoph Kessler. If you like my video please like,comment and subscribe to my channel! Thank you!
Frédéric Chopin Bach Liszt Schumann Bülow Tolling Camille Pleyel Pleyel Joseph Christoph Kessler 1835 1839
Frédéric Chopin wrote his Preludes, Op. 28, between 1835 and 1839, the year when the set was published. The cycle consists of 24 pieces for solo piano, one in each of the 24 keys (much like Bach's Well Tempered Clavier), and organized according to the circle of fifths. Chopin's preludes are carefully planned, self-contained miniatures which avoided the improvisatory feeling associated with the 'prelude' name. This led some critics to consider them incomplete pieces. Liszt, however, saw them as innovative and poetic. Although each work can stand alone, some scholars have suggested that the collection is one large work with twenty-four pieces, citing motivic connections among the preludes, and even musical connections from the ends of some preludes to the beginnings of others. Chopin never played all twenty-four in a row in a public performance. In fact, he never played more than four in concert. Neither did he give them evocative names, like Schumann and Liszt did for some of their pieces that were of a similar character. Hans von Bülow suggested some names for the preludes like Reunion, Tolling Bells, The Polish Dancer, and Raindrop. The preludes were dedicated to Camille Pleyel and Joseph Christoph Kessler. If you like my video please like,comment and subscribe to my channel! Thank you!
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- cronología: Intérpretes (Europa).
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