Aleksandr Skriabin Prometheus: The Poem of Fire, Op. 60 Vídeos
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Kastelsky Alexander Scriabin 2003 2011
Provided to YouTube by The Orchard Enterprises Prometheus, The Poem of Fire, Op. 60 · Valery Kastelsky · Alexander Scriabin Golden Classics. Scriabin: Gold Album ℗ 2011 Russian Compact Disc Released on: 2003-09-15 Auto-generated by YouTube.
Rakhlin Alexei Lubimov Aleksandr Scriabin 2011
Provided to YouTube by Believe SAS Symphony No. 5, Op. 60 "Prometheus: The Poem of Fire" · Estonian Radio Symphony Orchestra and Chorus · Nathan Rakhlin · Alexei Lubimov · Aleksandr Scriabin · Aleksandr Scriabin · Estonian Radio Symphony Orchestra and Chorus · Nathan Rakhlin · Alexei Lubimov Private Collection, Vol. 1: Concertos ℗ Artservice Released on: 2011-11-16 Auto-generated by YouTube.
Alexander Scriabin Kaftan Beethoven Pauli Rebel Beethoven Orchester Bonn Beethovenfest Bonn 1871 1910 1915 2021
The Prometheus myth as program music: The symphonic poem “Prometheus: The Poem of Fire”, Op. 60 (Prométhée. Le poème du feu, Op. 60) by Alexander Scriabin was on the program at the Beethovenfest Bonn 2021. Pauli Jämsä (piano) and the Beethoven Orchester Bonn played the piece, conducted by Dirk Kaftan. The concert took place at the World Conference Center Bonn (WCCB). Prometheus is considered the archetype of the rebel, but also a fundamental creator of culture. Because he steals fire from Zeus, the father of the gods, and brings it to mankind, he is chained to a rock as punishment. There, an eagle pecks out his steadily regrowing liver again and again until Hercules frees him from this predicament. Since antiquity, the Prometheus myth has been reworked countless times by artists. Alexander Scriabin +••.••(...)) composed a symphonic poem on the Prometheus theme that was far ahead of its time: Prometheus: The Poem of Fire, for piano, organ, choir and large orchestra, Op. 60 from 1910. For the performance, Scriabin had planned a color piano through which colors corresponding to the notes played were to be projected onto a screen. However, this symbiosis of music and colored light was not realized until after Scriabin's death. But with his last orchestral work, the Russian composer was able to celebrate great success even without the visual effect. Musically, Scriabin breaks new ground with the Prométhée by no longer relying on major-minor tonality, but by using sounds of quartal layers, which have gone down in history as the “Prometheus Chord” or “Mystic Chord”. The series of performance names in the score hint at the idea of the creation of fire. They are: Lento. Brumeux - Contemplatif - Très animé, étincelant - Avec émotion et ravissement - Avec un éclat éblouissant - Prestissimo. The performance of Prometheus in Bonn took place without a chorus and without a color piano. Watch more concerts in your personal concert hall: (http•••) Subscribe to DW Classical Music: (http•••) #AlexanderScriabin #Prometheus #BeethovenfestBonn
Scriabin at his most languorous and seductive. This work and the 6th sonata which immediately follows (by opus number), are stylistically transitional; the language is based on the major-minor scale. Next up is Prometheus the Poem of Fire, in Scriabin's mature harmonic language, mystic chord and all. The work is distinctive in the way he articulates phrases with silence. Created, edited and mastered in Digital Performer 5.13 (MOTU) using Ivory (Synthogy) sound libraries. The image at the end of the video is by Jean Delville, Belgian symbolist painter, and occultist johncasten.com
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