Charles-Hilaire Laurent Vidéos
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2024-06-15
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Charles Edward Ives Alexei Lubimov Drury Sinclair Kirkpatrick Cob Elliott Carter Beethoven 1623 1840 1874 1904 1911 1915 1919 1920 1938 1939 1947 1954 2012
Composer: Charles Edward Ives (20 October 1874 – 19 May 1954) Work Title: Piano Sonata No.2, 'Concord, Mass., 1840–60' Performers: Alexei Lubimov (piano), Laurent Verney (viola), Sophie Cherrier (flute) 0:00 - I. "Emerson" (after Ralph Waldo Emerson) 16:23 - II. "Hawthorne" (after Nathaniel Hawthorne) 29:21 - III. "The Alcotts" (after Bronson Alcott and Louisa May Alcott) 35:29 - IV. "Thoreau" (after Henry David Thoreau) The Piano Sonata No.2, Concord, Mass., 1840–60 (commonly known as the Concord Sonata) is a piano sonata by Charles Ives. It is one of the composer's best-known and most highly regarded pieces. A typical performance of the piece lasts around 45 minutes. Some material in the Concord Sonata dates back as far as 1904, but Ives did not begin substantial work on it until around 1911 and largely completed the sonata by 1915. The Concord Sonata was first published in 1919 with a second, revised, edition appearing in 1947. It is this version which is usually performed today. In 2012, a reprint of the original, uncorrected 1920 edition was published, including Essays before a Sonata and with an added introductory essay by the New England Conservatory's Stephen Drury. According to James B. Sinclair's catalogue of Ives' works, the sonata was publicly premiered by John Kirkpatrick on November 28, 1938 in Cos Cob, Connecticut. There had been earlier performances of isolated movements and excerpts. The second performance (given in many sources as the premiere), also given by Kirkpatrick, was given at the Town Hall in New York City on January 20, 1939. Among those present was Elliott Carter, who reviewed the piece in the March–April 1939 edition of the journal Modern Music. The sonata's four movements represent figures associated with transcendentalism. In the introduction to his Essays Before a Sonata (published immediately before the Concord Sonata) Ives said the work was his "impression of the spirit of transcendentalism that is associated in the minds of many with Concord, Massachusetts of over a half century ago. This is undertaken in impressionistic pictures of Emerson and Thoreau, a sketch of the Alcotts, and a scherzo supposed to reflect a lighter quality which is often found in the fantastic side of Hawthorne." The piece demonstrates Ives' experimental tendencies: much of it is written without barlines, the harmonies are advanced, and in the second movement, there is a cluster chord created by depressing the piano's keys with a 14 3⁄4-inch (37 cm) piece of wood. The piece also amply demonstrates Ives' fondness for musical quotation: the opening bars of Ludwig van Beethoven's Symphony No.5 are quoted in each movement. Sinclair's catalogue also notes less obvious quotations of Beethoven's Hammerklavier Sonata and various other works. Unusually for a piano sonata, there are optional parts for other instruments: near the end of the first movement there is an optional part for viola, and in the last movement a flute (an instrument which Thoreau played) briefly appears. Source: (http•••) Source videos: 1st movement: (http•••) 2nd movement: (http•••) 3rd movement: (http•••) 4th movement: (http•••)
Pro Arte Quartet Maas 1756 1787 1791 1934
W. A. Mozart +••.••(...)) Quintet in G Minor, KV 516 (1787) I. Allegro II. Menuetto (Allegretto) III. Adagio ma non troppo IV. Adagio - Allegro Pro Arte Quartet Alphonse Onnou, 1st Violin Laurent Halleux, 2nd Violin Germain Prevost, Viola Alfred Hobday, 2nd Violist Robert Maas, Cello (Victor, issued 1934; recorded by HMV, February 15, 1934) 78 rpm transfers.
Jules Massenet Gary Bertini Renée Fleming Richard Leech Jean Luc Chaignaud Laurent Naouri Michel Sénéchal Franck Ferrari Doris Lamprecht Lamprecht Delphine Haidan Lemaire Opéra Bastille 1842 1845 1912 1928 1976 1997
Jules Massenet +••.••(...)) "MANON" Direttore d'orchestra: Gary Bertini Manon Lescaut: Renée Fleming Le Chevalier des Grieux: Richard Leech Lescaut: Jean-Luc Chaignaud Le Comte des Grieux: Laurent Naouri Guillot de Morfontaine: Michel Sénéchal De Brétigny: Franck Ferrari Poussette: Anna Maria Panzarella Javotte: Doris Lamprecht Rosette: Delphine Haidan L'hôtelier: Fernand Dumont Un garde: Mark Duffin Orchetra e coro dell'Opéra National de Paris Opéra Bastille Parigi - 21 giugno 1997 Immagine sullo sfondo/Background image/Imagen de fondo Madeleine-Jeanne Lemaire +••.••(...)): "Il sonno di Manon" - "El sueño de Manon" - "The sleep of Manon" Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. I own nothing
1989 Orchestre Symphonique Français Laurent Petitgirard Max Bruch
Max Bruch Danses Suédoises opus 63 - Introduction - Sehr mässig - Ruhig bewegt - Frish, mit energie - Langsam, nicht schleppend - Ziemlich schnell - Langsam, nicht schleppend - Lebhaft Orchestre Symphonique Français (OSF) Laurent Petitgirard, direction Enregistré au Studio Davout à Paris en octobre 1989 Directeur artistique Alain Kremski Une étonnante suite dont l'introduction et la première pièce ne semblent pas excessivement dansantes. C'est plus une promenade qui fait découvrir une autre facette du compositeur trop souvent résumé au concerto de violon.
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- chronologie: Compositeurs (Europe).
- Index (par ordre alphabétique): L...