Percy Rideout Vídeos
compositor
- Inglaterra
Última actualización
2024-05-11
Actualizar
York Bowen Rideout Lionel Tertis Rachmaninoff Medtner Chopin Grieg Tchaikovsky Kaikhosru Shapurji Sorabji 1727 1876 1884 1961 1975
00:00 / 09:59 / 17:27 - Timothy Rideout (vla) / Frank Dupree (pno) (Viola Sonata No.2 - (http•••) York Bowen +••.••(...)) contributed several works for Viola, notably 2 sonatas and a Concerto, all dedicated to english violist Lionel Tertis +••.••(...)) known as “father of the viola” and revolutionized viola playing as we know it today. Bowen's compositions each display a unique ‘blend of Romanticism and strong individuality’. Although his influences include Rachmaninoff, Medtner, Chopin, Grieg and Tchaikovsky, Bowen's music is very much defined by its distinctive textures and harmonies. Although his active career spanned more than fifty years, Bowen's compositional style altered very little and he continued to employ a diatonic key system with use of chromatic harmonies throughout his life. Interesting fact, his 24 preludes for piano op.102 was dedicated to the english composer Kaikhosru Shapurji Sorabji. #YorkBowen There is no copyright infringement intended. If you wish your recording to be removed, it can be done, please just leave me an email, which can be found at the channel's about section.
Rideout William Jackson Mary Young
I've posted the first song here in a different video and in a similar context but nonetheless we have "Feadag Ghorach An t-Sleibh" or "The Airy Plover of the Heath" by Bonnie Rideout and William Jackson and "Mary Young and Fair" by the Grace O'Malley Quartet set alongside a variety of imagery inspired by medieval Scotland. Best viewed full-screen and in 1080p. Note: This is a fan made video and the art and music in this video are not related in any way to myself. Please support the artists by purchasing their original works.
Arnold Schoenberg Chopin Rideout James Campbell Campbell Coenraad Bloemendal Glenn Gould Giraud Humperdinck 1912 1974
Pierrot lunaire, melodrama for voice & chamber ensemble, Op. 21 (1912) Part I 1. Mondestrunken 2. Colombine 3. Dandy 4. Die blasse Wäscherin 5. Valse de Chopin 6. Madonna 7. Der kranke Mond Part II 8. Nacht 9. Gebet an Pierot 10. Raub 11. Rote Messe 12. Galgenlied 13. Enthauptung 14. Die Kreuze Part III 15. Heimweh 16. Gemeinheit 17. Parodie 18. Der Mondfleck 19. Serenade 20. Heimfahrt 21. O alter Duft Patricia Rideout, reciter Suzanne Shulman, flute James Campbell, clarinet Coenraad Bloemendal, bass clarinet Adele Armin, violin Peter Smith, cello Glenn Gould, piano, conductor (This recording includes only segments 1-7. Recorded at CBC Television Broadcast, CBC Studios, Toronto, Canada, 1974, Mono.) After the wrenching revolution Schoenberg brought to his music during the final years of the twentieth century's first decade (crystallized in such works as the Three Pieces for piano, Op. 11 and the Five Orchestral Pieces, Op. 16) the composer quickly drew back from the anguished Expressionism of these years to produce the much lighter Dreimal sieben Gedichte aus Albert Girauds Pierrot Lunaire (Three-times-seven Songs from Albert Giraud's Pierrot Lunaire, or, as it is known the world 'round, simply Pierrot Lunaire), Op. 21, of 1912 / a cycle of 21 songs for voice and chamber group that, in the composer's own words, voices sentiments that are "Light, ironic, [and] satirical." Pierrot Lunaire takes the shape of a single large melodrama in which the female voice gives the text a treatment that is midway between speech and song (the technique, called Sprechstimme, goes all the way back to Humperdinck, though it found its best use at the pens of the Second Viennese School composers). Three sections, comprised of seven songs each, showcase the five instrumentalists in all sorts of wonderfully colorful combinations as the narrator tells of the wandering Pierrot's experiences / indeed, the contrasts offered by just the piano, violin, cello, flute, and clarinet are not enough for Schoenberg, who makes the violinist, flutist, and clarinetist double on viola, piccolo, and bass clarinet, respectively. Each of the 13-line poems is a rondel, the opening lines being repeated during the middle of the poem as a kind of refrain. Structural and motivic connections abound throughout the work, and we find such devices as the recurrence of the queasy solo flute melody of No. 7, "The Sick Moon," in the 13th song, "Decapitation" (part of Pierrot Lunaire's admittedly darker second section, in which the demons of Expressionism come out to play once more), and the use of a passacaglia form in "Night," the first song of Part 2. By the time of "The Moonspot" in Part 3, Schoenberg has worked up to the level of a full double-canon (for the pair of woodwinds and the pair of strings). No. 19, "Serenade," is almost a virtuoso piece for cello and piano, while the final song of the melodrama, "O Ancient Charm of Fairy Days," is of the tender, epilogue variety. [allmusic.com] Art by Kent Williams
Glenn Gould Rideout Krenek Herbst
Glenn Gould and Patricia Rideout play Ernst Krenek's "Wanderlied im Herbst", from the Gesänge des späten Jahres.
o
- cronología: Compositores (Europa).
- Índices (por orden alfabético): R...