Blair Fairchild Vidéos
compositeur et diplomate américain (1877-1933)
- États-Unis
- compositeur ou compositrice, diplomate
Dernière mise à jour
2024-05-07
Actualiser
Edith Picht Axenfeld Bach Parry Henry Purcell Charles Dieupart Schweitzer Reeves Fairchild Dam 1951
Edith Picht-Axenfeld (harpsichord) The English Suites No. 1 in A Major (BWV 806) and No. 2 in a minor (BWV 807) J.S. Bach Released 1951 on the Mercury Classics label MG10091, mono recording BACH'S SIX English Suites constitute his largest keyboard works in suite form. "They certainly represent his highest pitch of mastery," writes Parry. "The immense scope of all the preludes ... and the wide range of resource which they display, the weight, variety, and unvarying high level of material of the allemandes and courantes, the supreme dignity, pathos, and warmth of color and expression of the sarabandes, the sparkling vivacity of the bourrees and the gavottes, and the superb texture of the gigues combine to make this series of suites stand entirely alone as representing the very highest examples of the type in existence. The two last French suites have a special charm and lightness, and admirable consistency of style; but the whole series does not give the impression of uniform high quality, certainty of resource, and nobility of expression which is given by the so-called 'English Suites.' " Where they acquired the name of "English Suites" is not known. Parry conjectures that Bach may have been familiar with the suites of Henry Purcell, which were fine examples of the form. He may also have been conscious of the fact that the English were the first to develop the suite. But the English Suites were never published during Bach's lifetime, and the title was, in all probability, derived from the words, "fait pour les Anglais," written above the Prelude to the Suite No.1 in A Major in the mamiscript copy in the possession of Bach's youngest son, Johann Christian. This inscription led to the belief that the suites were written for an English nobleman, but there is no evidence to support this claim. It so happens, however, that the aforementioned Prelude is based on a gigue in a suite by Charles Dieupart, a contemporary of Bach and a prominent teacher and composer in England. It is most likely, therefore, that the words, "fait pour les Anglais," applied only to this one movement and not to the suites in general. The origin of the title of the French Suites, it might be noted, is equally obscure, the only reason advanced being that they are of a compact and dainty character akin to examples of French art. The English Suites were probably composed, together with most of Bach's other instrumental works, in Cothen, though they may have been completed during his Leipzig period. At any rate, they came after the slighter French Suites, and perhaps some of them even saw the light of day after the six Partitas. Schweitzer declares that in the English Suites, Bach "raises the suite· form to the plane of the highest art, while at the same time he preserves its primitive character as a collection of dance-pieces." It is true that he ad· heres rather closely to the basic structure of the suite, but there are a few exceptions which are worth noting. The Prelude in the Suite No.1 in A Major was founded on a gigue by Dieupart, and is considerably shorter than any of the five other opening movements. In place of the customary single Courante, there are two in this suite, and .the second is augmented by two doubles-the double, as its name implies, being a simple form of variation on the original dance, with embel· lishments usually in double time. Another form of variation is found in the Sarabande in the Suite No.2 in A Minor. Here the Sarabande proper is followed by a more elaborate variation, marked Les Agrements de la meme Sarabande. Agrements are simple musical ornaments. It is the custom to substitute the corresponding section of agrements for a repeat in each section of the Sarabande, thus lend· ing more variety to the music. The Gigue in this suite is of the Italian wiriet'y .. being less contrapuntal in treatment. In addition, after the customary reo peats of each section, the entire Gigue is played through from beginning to end without repetition. NOTES BY PAUL AFFELDER This MERCURY LONG PLAYING recording was made possible through the use of the REEVES·FAIRCHILD MARGIN CONTROL process-a technique whereby it has become possible for Mercury to produce for the record-buying public a disc of truly superior quality, especially with respect to brilliance, clarity, dynamic range and reliable stylus tracking. This record can be played on any 331/3 r.p.m. turntable equipped with micro· groove pick-up, as long as pick.lIp playing stylus is not WORN or DAM· AGED. It is recommended that sapphire or metal styli be checked for reo placement at least every SIX MONTHS. #EdithPichtAxenfeld
Chuck Jones In Your Homes – Episode 221 How to Organize Your Ideas into a Visual Story with Lee Fairchild March 9, 2021 Starting with our heroine. 1. Brainstorm a series of events for your heroine 2. Make a list of all the things that could happen to her 3. Write out a simple script. Script can be just actions of your character, it does not have to be fancy, it just helps clarify what you will be drawing 4. Turn the words into pictures, thumbnail sketching. Donate to support Arts Education at the Chuck Jones Center for Creativity: (http•••)
Bolshoi Semperoper Mariinsky Lincoln Center Paris Opera Ballet Staatsballett Berlin Sterling Baca Brandt Dunn Hernandez Heymann O Neill Seo Shevchenko Zhao Darcey Carreño Fairchild Guerin Murphy Nunez Obraztsova Peck Simkin Smirnova Whelan 2011 2015
Dutch National Ballet Principal Dancer Anna Ol teaches a follow-along at home ballet barre class. Anna joined the Dutch National Ballet as a Principal Dancer in 2015 and has performed with companies including the State Opera of Tatarstan, the Mikhailovsky Theatre in St. Petersburg and the Stanislavsky and Nemirovich-Dantshenko Academic Music Theatre in Moscow. Youth America Grand Prix (YAGP) is the world's largest student ballet scholarship competition and global dance network, connecting students, teachers, schools, dance companies, and audiences worldwide. Now in its 22nd season, YAGP has reached more than 150,000 participants worldwide through its international ballet workshops, ballet auditions, ballet competitions, and ballet master classes. To date, over $4 million has been awarded to young dancers in scholarships to leading dance schools worldwide, including The Ailey School, American Ballet Theatre JKO School, The Australian Ballet School, Ballet West Academy, Berlin State Ballet School, Bolshoi Ballet Academy Summer Intensive, Boston Ballet School, Canada’s National Ballet School, Dutch National Ballet Academy, English National Ballet School, European School of Ballet, Houston Ballet Academy, John Cranko School of The Stuttgart Ballet, The Juilliard School, Paris Opera Ballet School, Princess Grace Academy, The Rock School for Dance Education, The Royal Ballet School, San Francisco Ballet School, The Washington School of Ballet, and Zurich Dance Academy, among other preeminent institutions in the U.S. and abroad. More than 450 YAGP alumni are now dancing in over 80 leading companies around the world – American Ballet Theatre, The Australian Ballet, Les Ballets de Monte-Carlo, Birmingham Royal Ballet, Boston Ballet, Dutch National Ballet, Dresden Semperoper Ballett, Finnish National Ballet, Houston Ballet, The Joffrey Ballet, Mariinsky Ballet, Miami City Ballet, National Ballet of Canada, New York City Ballet, Pacific Northwest Ballet, Paris Opera Ballet, Pennsylvania Ballet, The Royal Ballet, San Francisco Ballet, Staatsballett Berlin, and The Stuttgart Ballet, among others – with more than 100 of them in soloist or principal dancer positions. YAGP’s alumni success stories include some of the most prominent ballet stars in the dance world today: Maria Abashova, Constantine Allen, Sterling Baca, Elisa Badenes, Aran Bell, Isabella Boylston, Skylar Brandt, Jeffrey Cirio, Lia Cirio, Cesar Corrales, Michaela DePrince, Sasha De Dola, Derek Dunn, Isaac Hernandez, Mathias Heymann, Kimin Kim, Lauren Lovette, Julian MacKay, Maia Makhateli, Sara Mearns, Vadim Muntagirov, May Nagahisa, Hannah O’Neill, Calvin Royal III, Marcelino Sambé, Beckanne Sisk, Hee Seo, Christine Shevchenko, Taylor Stanley, James Whiteside, WanTing Zhao, and many other notable alumni. The annual YAGP Gala at Lincoln Center, Stars of Today Meet the Stars of Tomorrow, features the biggest stars of the world’s leading dance companies, many of whom had their NYC debuts* at the YAGP Gala, alongside the rising ballerinas and male dancers of tomorrow. Past guest artists have included such luminaries as Nina Ananiashvili, Roberto Bolle, Ashley Bouder, Darcey Bussell, José Manuel Carreño, Misty Copeland, Robert Fairchild, Marcelo Gomes, David Hallberg, Maria Kochetkova, Ekaterina Kondaurova, Isabelle Guerin, Lucia Lacarra, Manuel Legris, Vladimir Malakhov, Gillian Murphy, Marianela Nunez, Evgenia Obraztsova, Natalia Osipova*, Xander Parish, Tiler Peck, Tamara Rojo, Daniil Simkin, Polina Semionova*, Olga Smirnova, Yuan Yuan Tan, Nikolai Tsiskaridze, Daniel Ulbricht, Ivan Vasiliev*, Diana Vishneva, Wendy Whelan, and many other dance legends. YAGP was the subject of the 2011 award-winning First Position documentary, which followed six participants on their journey to compete at YAGP’s annual NYC Finals. / For more info please visit: (http•••) SUBSCRIBE: (http•••) DONATE: (http•••) INSTAGRAM: (http•••) FACEBOOK: (http•••) TWITTER: (http•••) TIKTOK: (http•••) YAGP JAPAN INSTAGRAM: (http•••) YAGP JAPAN FACEBOOK: (http•••) YAGP KOREA INSTAGRAM: (http•••) YAGP INDONESIA INSTAGRAM: (http•••) YAGP BRAZIL INSTAGRAM: (http•••) YAGP ITALY INSTAGRAM: (http•••) YAGP PHILIPPINES INSTAGRAM: (http•••) YAGP MEXICO INSTAGRAM: (http•••) YAGP GERMANY INSTAGRAM: (http•••) YAGP CHINA WEIBO: (http•••)
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- chronologie: Compositeurs (Amérique du Nord).
- Index (par ordre alphabétique): F...