Thomas Ebdon Vídeos
compositor, organista
- órgano
- Reino de Gran Bretaña, Reino Unido de Gran Bretaña e Irlanda
Última actualización
2024-05-03
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Orlando Gibbons Thomas Ebdon William Boyce William Byrd 1540 1583 1623 1625 1711 1738 1779 1811 1905 1958
Choral Evensong for Passion Sunday (V Lent) Repertoire for the service: Introit: Jesus, so lowly - Harold Friedell +••.••(...)) Canticles: Short Service - Orlando Gibbons +••.••(...)) Preces & Responses: Thomas Ebdon +••.••(...)) Anthem: Turn thee unto me, O Lord - William Boyce +••.••(...)) Marian Antiphon: Ave Regina Caelorum - William Byrd +••.••(...)) Please note that the chorus will be singing socially distanced from the choir loft, and will not be visible on the livestream.
John Garth Charles Avison Darlington Durham Ebdon Hawdon Gardiner Avison Ensemble 1722 1732 1742 1745 1760 1768 1772 1790 1810 1816 1838
★ Follow music ► (http•••) Composer: John Garth +••.••(...)) Work: Cello Concerto No.6 (1760) Performers: Rіchard TunnіcIіffe (cello); The Avіson Ensemble Painting: Pehr Hilleström +••.••(...)) - Gustavian Style Interior with a Musical Party Further info: (http•••) Listen free: (http•••) / John Garth (Harperley, 1722 - Darlington, 29 March 1810) English composer and cellist. Little is known about his life or works, save that he spent much of his career in and around Durham in central England, where for a time he functioned as organist at a parish church near Sedgefield. In 1742 he became a freemason, and in 1745 he organized a series of public concerts in Stockton. By 1772 he had moved to Durham where he again organized concerts, sometimes in collaboration with Charles Avison from nearby Newcastle. As a composer, Garth’s main area of activity was the accompanied keyboard sonata: not the common form for keyboard with violin but a type used almost exclusively by composers in north-east England (Avison, Ebdon and Hawdon as well as Garth) where a trio sonata ensemble of two violins, cello and harpsichord is required, with the strings either doubling the harpsichord, providing harmonic support or resting. Garth was no doubt following Avison’s example in using this unusual genre. The presence of crescendo marks suggests that he had the piano in mind. The first of Garth’s five sets, op.2, achieved particular popularity; at least six editions are known between 1768 and 1790, when the first sonata appeared separately in an anthology. It was referred to by William Gardiner (Music and Friends, London, 1838) as affecting him powerfully and arousing his interest in music. The sonatas are in two movements, usually an Allegro followed by a minuet, gavotte or rondo. Garth’s fluent technique served well for what are mainly light, unpretentious pieces, of which only occasional ones have real substance. In the second set the chief interest lies in the melodically attractive dance movements, though no.6 in G minor has a vigour and contrapuntal elaboration rare in Garth’s music. The later sets are lighter to the point of triviality. His cello concertos (a form rare in England at the time; Garth’s are the earliest published there) show some apt and fluent melodic writing.
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