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2024-05-03
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Sir Neville Marriner Igor Stravinsky 1975 2001
Provided to YouTube by Warner Classics Danses Concertantes: V. Marche (2001 Digital Remaster) · Sir Neville Marriner · Los Angeles Chamber Orchestra Stravinsky: Le Sacre du Printemps/Petrushka/Pulcinella/Suites/Danses ℗ 1975 Warner Classics, Warner Music UK Ltd Digital remastering (p) 2001 Warner Classics, Warner Music UK Ltd Orchestra: Los Angeles Chamber Orchestra Conductor: Sir Neville Marriner Composer: Igor Stravinsky Auto-generated by YouTube.
Josef Suk Sir Neville Marriner Bremner 1975 1993
Provided to YouTube by Universal Music Group Suk: Serenade for strings in E flat, Op. 6 - 3. Adagio · Los Angeles Chamber Orchestra · Sir Neville Marriner Ultimate Classical Chill Out ℗ 1975 Decca Music Group Limited Released on: 1993-01-01 Producer: Michael Bremner Studio Personnel, Balance Engineer: Stanley Goodall Composer: Josef Suk Auto-generated by YouTube.
Collaboration is a natural way of working – part of what makes us humans. But, right now, we are all at home. We are all isolated. We’re all living in Close Quarters. LACO’s new premium streaming series – now streaming at no cos ton Youtube, Facebook and (http•••) – presents a new avenue for classical music and a unique look at what the future can hold in balancing music, art and movement. Close Quarters features classical music performances set to images and art created and processed in a first-of-its-kind digital studio at Wilhardt + Naud. Music Director Jaime Martin and Director and Designer James Darrah seek to create a digital series that celebrates collaboration in an age of isolation. Sign up for reminders, exclusive updates, previews, and invitations to virtual events with the artists. ️ (http•••) #CloseQuarters #ClassicalMusic #LosAngeles
Bach Jaime Martín Jeffrey Kahane Vergara Grossman 1050 1721 1734
Bach ‘s Brandenburg Concerto No. 5 led by Music Director Jaime Martín on flute. PROGRAM Bach, Brandenburg Concerto No. 5 ARTISTS Jaime Martín flute Tereza Stanislav, solo violin Jeffrey Kahane, fortepiano Ardeshir Tabrizi, mixed media artist Margaret Batjer, violin Josefina Vergara, violin Susan Rishik, violin Erik Rynearson, viola Robert Brophy, viola Andrew Shulman, cello Armen Ksajikian, cello David Grossman, bass James Darrah, creative director Bach’s Brandenburg 5 is sponsored by Ned + Dana Newman. Support for Jaime Martín + Jeffrey Kahane comes from Dr. Hervey + Doris Segall. ABOUT BACH’S BRANDENBURG CONCERTO NO. 5 In the spring of 1721, JS Bach was working as Kapellmeister in the city of Cöthen. In running the musical activity of the court, Bach’s duties included composing music for different occasions, leading performances and possibly teaching, as well. His employer, Prince Leopold, was a music lover, and Bach always had work to do and find musicians at his disposal. Bach and his family were getting along very well in the city until two things changed Bach’s fortune: the death of his first wife, Maria Barbara, and Prince Leopold’s marriage to a woman who didn’t care for music. In light of these changes, Bach began searching for employment elsewhere. His thoughts turned to Brandenburg. In the years prior, Bach had had a chance encounter with the Margrave of Brandenburg, who had asked Bach for some music. The composer may have thought he could capitalize on their serendipitous meeting. Bach sent a set of six concertos as a response to the Margrave’s request, and probably as a bid for a new job. He had not written these pieces specifically for this purpose; he almost certainly began these concertos while working in Cöthen (and Weimar before that), since his orchestrations match the musicians he had at his disposal during that time. Bach copied the six works into a set and sent them off to Brandenburg. The dedication was a bit more obsequious than was probably necessary, but Bach was nothing if not humble. Part of the first sentence reads: “[I beg] Your Highness most humbly not to judge [the concertos’] imperfection with the rigor of that discriminating and sensitive taste, which everyone knows Him to have for musical works, but rather to take into benign Consideration the profound respect and the most humble obedience which I thus attempt to show Him.” The Margrave appears never to have had the works performed, and the set collected dust in the Margrave’s library until his death in 1734. The pieces were subsequently sold—the concertos apparently went for about $20 in today’s currency—and were found in the Brandenburg archives in the mid-19th century. Setting aside taste as a factor in the Margrave’s decision not to produce them, he simply may not have had enough musicians up to the challenge. There are at least two solo instruments in nearly every concerto, and a presentation of all of them in a single evening requires a performing group of incredible depth. Individual musicians must be comfortable as both featured soloists and ensemble players. That the set was ultimately found is incredibly fortuitous. THE SOLO INSTRUMENTS IN BRANDENBURG CONCERTO NO. 5 The solo instruments of Brandenburg Concerto No. 5 are flute, violin and harpsichord. The flute of Bach’s time would have been made of wood with a mixture of finger holes and keys similar to the ones you would find on the modern, metal flute. Also, in the Baroque period, the shape of the inside of the instrument, called a “bore,” changed from cylindrical to conical. This difference in bore shape increased the range of the instrument and made it more expressive. This concerto is particularly notable for the interesting role played by the harpsichord. Usually relegated to a background part, as the keyboard continuo, the harpsichord here actually becomes one of the solo instruments, playing the spectacular cadenza of the first movement. It is thought that Bach designed the concerto specifically to show off his own considerable skills at the keyboard. The harpsichord player steps out of the shadows to shine as a virtuoso, displaying not just his or her own talent, but the clarity and timbre of the instrument. There is also speculation that Bach was interested in demonstrating the new Mietke harpsichord he acquired in Berlin—the same instrument he bought when he met up with the Margrave. Christine Lee Gengaro, PhD ABOUT CLOSE QUARTERS LACO’s new premium streaming series – which premieres November 6 – presents a new avenue for classical music and a unique look at what the future can hold in balancing music, art and movement. HOW TO SUPPORT LACO: Close Quarters supports the stellar musicians of the Los Angeles Chamber Orchestra. Viewers who wish to support LACO and the artists on screen are encouraged to visit (http•••) or call +••.••(...), EXT. 4. See Less
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