Pierre de La Garde Vídeos
compositor francés
- barítono
- ópera
- Francia
- compositor, cantante de ópera
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2024-04-28
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Readers wishing to engage with the New Wave period of Science Fiction history will need to explore the British avant-garde SF short stories of the 1962-1976 period. New Wave obsessive Steve Andrews presents some suggestions for the best anthologies to seek out in order to discover this groundbreaking epoch in literary and cultural history. Forget that conservative populist Space Opera escapism, this is the real dope... Music: The Occupier (c) Shot in 4K, Rendered in 1080p HD Widescreen #sciencefictionbooks #bookcollecting #booktube #bookrecommendations #sciencefiction #literaryfiction #newwavesciencefiction
Alarm Will Sound Karlheinz Stockhausen Luciano Berio 1969 2001
Alarm Will Sound is the kind ensemble that eschews labels and defies definition. As their managing director Gavin Chuck puts it when asked what kind of music they play, he often says simply "we play good music". Whether you call the music that they play classical or new music or avant-garde, the members of this eclectic group devote most of their energy in trying to find projects they find exciting with the hope that in the process they engage their audience and put on a good show. Although the 20 members of the group are scattered around the country, most of them got their start in one spot: the Eastman School of Music. The group was formed there around 2001 after they had spent a few years working together on a student run orchestra and decided to take that experience with them beyond their time at Eastman. As they have continued on with successful music careers in cities from New York to Chicago to San Francisco, they have continued to keep this collective alive by gathering in a different city every month or so to put on concerts. Each time, the program is the same. Members fly into a city from all over the country, rehearse the material for a few days, play the show and then head their separate ways until the next gig. Despite this itinerant schedule, the formula seems to work. More than a decade after its founding, Alarm Will Sound is still as vibrant as ever. When the invitation was extended for them to return to Rochester to play a show at Eastman, they didn't hesitate to accept. What they brought was much more than just a concert, but an experience for audiences that included not only music from the popular to the obscure, but also a theatrically staged narrative, large video screens with vivid imagery and plenty of action. It's a show they call 1969, and it brings together the music and culture of that time in American history to tell a story with an approach that is decidedly original. From the life and music of John Lennon, to experimental composers Karlheinz Stockhausen and Luciano Berio to Richard Nixon and Jimi Hendrix's electrified version of the Star Spangled Banner, 1969 covers a vast array, and in a way that's anything but the typical concert going experience.
Louis Varney Michel Trempont Garrison Abbot 1844 1880 1908 1978
Louis Varney +••.••(...)) Air "Pour faire un brave mousquetaire", extrait de l'Opérette "Les Mousquetaires au couvent", Les Mousquetaires ... d'Artagnan... Aramis ... Athos... Porthos : des noms dont l'Histoire et les récits nous ont transmis la légende nimbée de gloire !!! The Musketeers ... d’Artagnan... Aramis ... Athos... Porthos: names whose history and stories have given us the legend of glory!!! "Pour faire un brave mousquetaire Il faut avoir l'esprit joyeux Bon cœur et mauvais caractère Se bien battre et boire encore mieux Et pour fuir toute folle ivresse Où se perdrait notre raison Comme on change de garnison Il sied de changer de maîtresse Oui, l'abbé, c'est bien là Se conduire en vrai mousquetaire {Refrain:} À nous les folles nuits d'ivresse Vin généreux, cœurs sans façons À nous plaisirs, gloire et maîtresses Vive l'amour Vive l'amour et les chansons ! Triste, songeur et solitaire Gontran, tout à son noir souci Garde avec des airs de mystère Des façons d'amoureux transi Contre ce mal qui l'importune Je lutte en vain et je le vois Qui, rêveur, tandis que je bois Rime des sonnets à la lune Ah, l'abbé, est-ce là Se conduire en vrai mousquetaire ?" To make a brave musketeer You have to have a happy spirit Good heart and bad character Fight well and drink even better And to run away from all drunkenness Where our reason would be lost As we change garrison It’s time to change your mistress Yes, the abbot, it is there Act like a true musketeer {Refrain:} To us the crazy nights of drunkenness Generous wine, heartless hearts To our pleasures, glory and mistresses Long live love Long live love and songs! Sad, dreamy and lonely Gontran, all to her dark concern Guard with an air of mystery The ways of a transient lover Against this evil that bothers him I struggle in vain and I see him Who, dreamer, while I drink Rhyme of sonnets to the moon Ah, the abbot, is that there Acting like a true musketeer?" Michel Trempont , baryton Orchestre Symphonique de la RTB Conductor Edgar Doneux Editor CLUB 1978 Choix comparatif aléatoire C (3 interprétations prévues) Remerciements à l'Association d'Artagnan, Village de Madame d'Artagnan - (71) Sainte-Croix-en-Bresse. Concept MusicHorama (Musique classique + Visuels artistiques + Montage) Son direct vinyl original (http•••) (2600 vidéos musicales publiées) Association d'intérêt général habilitée à délivrer reçu fiscal pour dons et mécénat.
Louis Andriessen Mariss Jansons Hendrik Andriessen Boulez Stravinsky Baaren Berio Guevara Schat Reinbert Leeuw Mengelberg Stockhausen Koninklijk Concertgebouworkest Hoketus Royal Concertgebouw Amsterdam Holland Festival 1939 1957 1962 1963 1965 1966 1968 1969 1972 1973 1976 1977 2013
Louis Andriessen (1939) Mysteriën (Mysteries) : for orchestra (2013) Orchestra: Koninklijk Concertgebouworkest Conductor: Mariss Jansons Commissioned by the Royal Concertgebouw Amsterdam for the Royal Concertgebouw Orchestra on the occasion of the 125th anniversary of both hall and orchestra Louis Andriessen is a Dutch composer, son of Hendrik Andriessen. After a few youthful works influenced by neo-classicism and serialism in the manner of Boulez he moved steadily away from the postwar European avant garde and towards American minimalism, jazz and Stravinsky. Out of these elements he has developed a musical language marked by extremes of ritual and masquerade, of monumentality and intimacy, of formal rigour and intuitive empiricism. The epitome of the Hague School, he is regarded as the most influential Dutch composer of his generation. Andriessen was born the youngest son of a musical family. His father and his elder brother Jurriaan, who passed on to him his musical experiences of Stravinskian neo-classicism and jazz, were his earliest mentors. Between 1957 and 1962 he studied composition at the Royal Conservatory in The Hague with Van Baaren. After receiving the composition prize there, he continued his studies with Berio in Berlin and Milan +••.••(...)). Back in the Netherlands he played an active role in the increasing politicization of the arts put into practice during the Holland Festival in 1969 with the collective work Reconstructie, a music-theatre morality based on the character of Che Guevara; the composers involved were Schat, van Vlijmen, Reinbert de Leeuw and Misha Mengelberg, all former students of Van Baaren. Later the same year Andriessen was involved in the Notenkrakersactie, the disruption of a concert by the Concertgebouw Orchestra, whose artistic policy the protesters regarded as reactionary. This controversial act has since come to be seen as a turning-point in postwar Dutch musical life. For Andriessen it led to a permanent abandonment of the medium of the symphony orchestra. Convinced that musical renewal cannot be separated from the renewal of performance practice, he set up in 1972 De Volharding ('Perseverance') to perform his composition of the same name, and similarly in 1977, Hoketus, the result of a project at the Royal Conservatory; both ensembles have gone on to stimulate extensive new repertories. Andriessen began to teach composition and instrumentation at the Royal Conservatory in 1973, and in the mid-1980s started to be in great demand as a guest lecturer, particularly in the USA. It may be tempting to regard the première of De staat in 1976 as marking the birth of the 'real' Andriessen. A typically European response to the more ethereal American minimalism of the time, it made his name internationally. It is the first work in a line of monumental, for the most part 'didactic' compositions which mark moments of synthesis and re-orientation in his output; it also unveiled Andriessen's characteristic sonorities of brass, keyboards and bass guitars. However, his output from before De staat should not be viewed merely as a preliminary stage, since in it a number of distinctive (albeit short-lived) styles and techniques are discernible, becoming marked increasingly by personal features. At the extremes stand the graphic composition Registers (1963) and the exercise in youthful sentiment Souvenirs d'enfance (1966). In Ittrospezione III (Concept I) serial methods derived from Boulez are uneasily combined with a Cageian conceptualism, though pre-echoes of De staat are occasionally apparent in the work's instrumentation and form. Contra tempus of 1968 reveals Andriessen explicitly turning away from the avant garde's rejection of the past. The montage form, the mixture of static, 'chorale' continuos of sound, traced by the composer to such variable sources as Stockhausen's Momente, Stravinsky and pre-tonality, and the big-band-like instrumentation, all point in another direction. Most of all it is Stravinsky whom Andriessen considered / 'with his hand on my shoulder' / the model; the last chord of the work is the opening one of the Symphony of Psalms. With De volharding (1972), Andriessen moved a step closer to De staat. Composed in response to American minimalism in general and to Riley's In C in particular, the musico-political convictions which have determined Andriessen's development are reflected in the title, with its reference to the ideals of the early 20th-century labour movement
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- cronología: Compositores (Europa). Cantantes líricos (Europa).
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