Martin Cooke Vídeos
cantante de ópera australiano
- barítono
- Australia
- cantante de ópera
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2024-07-03
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Henry Purcell Daniel Purcell Henry Cooke Pelham Humfrey John Hingston John Blow John Playford Ayres John Gostling 1659 1664 1670 1673 1674 1676 1678 1679 1682 1717
Purcell was born in St Ann's Lane, Old Pye Street, Westminster. Henry Purcell Senior,[3] whose older brother Thomas Purcell (d. 1682) was also a musician, was a gentleman of the Chapel Royal and sang at the coronation of King Charles II of England.[4] Henry the elder had three sons: Edward, Henry and Daniel. Daniel Purcell (d. 1717), the youngest of the brothers, was also a prolific composer who wrote the music for much of the final act of The Indian Queen after Henry Purcell's death. Henry Purcell's family lived just a few hundred yards west of Westminster Abbey from the year 1659 and onward.[5] After his father's death in 1664, Purcell was placed under the guardianship of his uncle who showed him great affection and kindness.[6] Thomas was himself a gentleman of His Majesty's chapel, and arranged for Henry to be admitted as a chorister. Henry studied first under Captain Henry Cooke (d. 1672),[7] Master of the Children, and afterwards under Pelham Humfrey (d. 1674), Cooke's successor.[8] Henry was a chorister in the Chapel Royal until his voice broke in 1673, when he became assistant to the organ-builder John Hingston, who held the post of keeper of wind instruments to the King.[5] Purcell is said to have been composing at nine years old, but the earliest work that can be certainly identified as his is an ode for the King's birthday, written in 1670.[9] (The dates for his compositions are often uncertain, despite considerable research.) It is assumed that the three-part song "Sweet tyranness, I now resign" was written by him as a child.[6] After Humfrey's death, Purcell continued his studies under Dr. John Blow. He attended Westminster School and in 1676 was appointed copyist at Westminster Abbey.[4] Henry Purcell's earliest anthem "Lord, who can tell" was composed in 1678. It is a psalm that is prescribed for Christmas Day and also to be read at morning prayer on the fourth day of the month.[10] In 1679, he wrote some songs for John Playford's Choice Ayres, Songs and Dialogues and also an anthem, the name of which is not known, for the Chapel Royal. From a letter written by Thomas Purcell, and still extant, we learn that this anthem was composed for the exceptionally fine voice of the Rev. John Gostling, then at Canterbury, but afterwards a gentleman of His Majesty's chapel. Purcell wrote several anthems at different times for Gostling's extraordinary basso profondo voice, which is known to have had a range of at least two full octaves, from D below the bass staff to the D above it. The dates of very few of these sacred compositions are known; perhaps the most notable example is the anthem "They that go down to the sea in ships." In gratitude for the providential escape of King Charles II from shipwreck, Gostling, who had been of the royal party, put together some verses from the Psalms in the form of an anthem and requested Purcell to set them to music. The work is a very difficult one, opening with a passage which traverses the full extent of Gostling's range, beginning on the upper D and descending two octaves to the lower.
Henry Purcell Daniel Purcell Henry Cooke Pelham Humfrey John Blow John Playford John Gostling Shakespeare Groves Simon Preston 1659 1664 1670 1675 1676 1677 1678 1682 1695 1717
Henry Purcell (/ˈpɜ:səl/ o /pársel/) fue un compositor británico del Barroco. Nació el 10 de septiembre de 1659 en St Ann's Lane, Old Pye Street (Westminster) y falleció el 21 de noviembre de 1695 en Dean's Yard (Westminster). Esta considerado el mejor compositor inglés de todos los tiempos.1 Purcell incorporó elementos estilísticos franceses e italianos, generando un estilo propio inglés de música barroca.Purcell nació en el condado de St. Anne, Westminster. Su padre, también de nombre Henry Purcell, fue caballero de la Capilla Real, y cantó en la coronación del Rey Carlos II de Inglaterra. Fue el mayor de tres hermanos, de los cuales el menor Daniel Purcell (fallecido en 1717), fue igualmente un prolífico compositor. Tras la muerte de su padre, en 1664, Henry Purcell quedó bajo la custodia de su tío Thomas Purcell (muerto en 1682), quien mostró por él afecto y cariño. Thomas era asimismo caballero de la Capilla del Rey y gestionó la admisión de Henry como miembro del coro. Henry estudió primero con Henry Cooke, maestro de los niños, y luego con Pelham Humfrey, sucesor de Cooke. Se dice que Purcell comenzó a componer a los 9 años de edad, pero la primera obra que puede ser identificada con certeza como de su autoría es la Oda para el cumpleaños del rey escrita en 1670 (Las fechas de sus composiciones son a menudo inciertas, a pesar de la considerable investigación). Después de la muerte de Humfrey, Purcell continuó sus estudios con el Dr. John Blow, mientras asistía a la Escuela de Westminster. En 1676 fue nombrado ayudante organista de la Abadía de Westminster y compuso obras como Aureng-Zebe, Epsom Wells y La libertina. En 1675 escribió varias canciones para Aires, canciones y diálogos elegidos (de John Playford) y también un himno de nombre actualmente desconocido para la Capilla Real. A través de una carta escrita por Thomas Purcell, sabemos que el himno fue escrito para la excepcional voz del reverendo John Gostling, entonces en Canterbury, pero posteriormente Caballero de la Capilla del Rey. Purcell escribió muchos himnos en diferentes momentos para esta extraordinaria voz, un bajo profundo, que se sabe tenía una tesitura de al menos dos octavas completas, desde re2 hasta re4. Se conocen datos de unos pocos de estos himnos; quizás el más notable ejemplo es They that go down to the sea in ships, compuesto en agradecimiento por un providencial salvamento de un naufragio sufrido por el rey. Gostling, que acompañaba en la oportunidad al rey, reunió varios versos de los Salmos en forma de himno, y le pidió a Purcell que compusiera la música. La obra resulta todavía hoy de una interpretación muy difícil, incluyendo un pasaje que atraviesa toda la tesitura de la voz de Gotling. En 1677 compuso la música para la tragedia de Aphra Behn Abdelazar y en 1678 una obertura y mascarada para la nueva versión de Shadwell sobre Timon de Atenas (de Shakespeare). El coro de La libertina «In These Delightfull Pleasant Groves» se interpreta frecuentemente. En este año se convirtió en Compositor de la Orquesta de Cuerda "Violínes del Rey". Joeur: Simon Preston.
Cynthia Phelps Mahler Deryck Cooke
Mahler wrote his Symphony No. 10 in a state of poor health and emotional anguish; the work would end up being his last, and would remain unfinished upon his death. Principal Viola Cynthia Phelps demonstrates the haunting, plaintive melody played by the viola section that opens the first movement, which Mahler did manage to complete. The rest of the symphony was orchestrated in the 1950s by British musicologist Deryck Cooke, authorized by Mahler’s widow, Alma; it is this version that is most often performed. #mahlerny #nyphilplayson For more information visit (http•••) Subscribe at (http•••) Facebook: (http•••) Twitter: (http•••) Instagram: (http•••) Tumblr: (http•••)
Gustav Mahler Deryck Cooke Thomas Dausgaard Bruno Walter Ernst Krenek Schalk Berthold Goldschmidt Goldschmidt Alma Mahler Seattle Symphony Orchestra New Philharmonia Orchestra London Symphony Orchestra 1861 1910 1911 1919 1924 1960 1962 1963 1964 1967 1972 1976
Seattle Symphony Orchestra conducted by Thomas Dausgaard I - Adagio: 0:00 II - Scherzo I. Schnelle Vierteln: 23:15 III - Purgatorio. Allegretto moderato: 34:21 IV - Scherzo II. Allegro pesante - Nicht zu schnell: 38:26 V - Finale. Langsam, schwer: 49:29 Mahler's tenth symphony was started in the summer of 1910 but was never finished, as h Mahler died may 18 of 1911. The only movement fully orchestrated was the first, the adagio. The third was quite complete and the rest of the movements were in a schematic phase, but with their design finished. Bruno Walter claimed that Mahler had asked him to destroy the score if it was not finished on the day of his death. He had never left a score unfinished, before he destroyed them, in the same way he did with his youthful works. If today we can have the pleasure of listening to part of Mahler's posthumous work, we owe it to his wife Alma, who in 1924 authorized the Viennese publisher Paul Zsolnay to publish the copy of the manuscript, with the surprise of finding a totally planned symphony, comprising five movements. Composer Ernst Krenek completed the instrumentation of the first and third movements, those that were more advanced, and premiered them at the Vienna Opera, performed by the Philharmonic under the direction of Franck Schalk. Finally in 1964, the Mahler Gesellschaft Foundation definitively corrected the Adagio's score. Deryck Cooke, an English musicologist born in Leicester in 1919 and specialized in Mahler, was working on the BBC staff when he was commissioned to do a job to celebrate the centenary of Mahler's birth in 1960. On December 19, 1960, the BBC in London made a broadcast of the symphony with the two incomplete scherzos, performed by the Philharmonia Orchestra conducted by Berthold Goldschmidt. But Cooke was not satisfied with this version and continued to work with the manuscripts left by Mahler, discovering that they said more. He made a new version of the complete work, but without correcting any of Mahler's musical ideas. Its only function was to complete what was missing, to make it an executable work. But then Alma Mahler emerged again, wanting her husband's wishes to be respected. He strictly prohibited the work to be performed again. It seems that he was influenced by Bruno Walter, who also supported this idea. In 1962, conductor Harold Bryns convinced Alma to listen to a tape recording of Cooke's first version of 1960's performance. Neither she nor Bruno Walter had ever listened to it. Walter had died when Mrs. Mahler listened to the aforementioned recording with emotion. The work moved her in such a way that she bursted into tears. Now she understood what her dead husband had meant and could not help leaving the world without being able to hear that music. The result was that on May 8, 1963, the ban was lifted. It could be freely interpreted anywhere on the planet. The completed and corrected version was performed by the London Symphony Orchestra, also conducted by Goldschmidt, on August 13, 1964 and published in 1967. But it would still undergo a new correction. The premiere of the definitive version was held on October 15, 1972 with the New Philharmonia Orchestra conducted by Wyn Morris and would be published in 1976. The first movement is built in the classical sonata form, but interpreted in a new way, which gives more importance to thematic variation than to the strength of contrast between the themes, as understood in its classical sense. It begins with a slow introduction by violas, presenting an austere theme. The first theme of the movement is followed by the first violins, accompanied by the rest of the high strings and the trombone. A melody of great intensity. The theme increases its expression, until the appearance again of the theme of the introduction. The themes are modified during their development, using clearly expressionist techniques. The themes fragment and undergo, what the German musicologist Tyll Rohland quite rightly calls, a morphological variation. In the classical variation, the morphology of the theme remains, something that now, as will be seen later in modern music, the themes are built and disintegrated, to be joined again later, but made of different wood, as for example it would be doing it inverted. This creates a movement with an almost unreal music, with the use of instruments in their extreme registers. The music culminates in a great climax, with sharp metal chords, dissonant chords from the string, and a shrill call from the trumpet, leading to the last section. [Description continued in the comments section] Picture: "Dante and Virgil in the Ninth Circle of Hell" (1861) by the French painter Gustave Doré. Source: (http•••)
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- cronología: Cantantes líricos (Oceanía).
- Índices (por orden alfabético): C...