Frank Loesser Vidéos
compositeur américain
- comédie musicale
- États-Unis
- compositeur ou compositrice, librettiste, parolier ou parolière, auteur-compositeur ou autrice-compositrice, compositeur de musique de film, acteur ou actrice, scénariste
Dernière mise à jour
2024-04-29
Actualiser
John Wilson George Gershwin Cole Porter Nin Jerome Kern Richard Rodgers Oscar Hammerstein Hammerstein Adler Slaughter Frederick Loewe Loewe Frank Loesser Leonard Bernstein Jerry Bock Casey Elizabeth Llewellyn Llewellyn Ovenden Macfarlane Rodney Earl Clarke Clarke John Wilson Orchestra Royal Albert Hall 2012
John Wilson Orchestra - The Broadway Sound Part I [00:00:00] - George Gershwin Overture to the Musical Funny Face [00:06:48] - Cole Porter Another Op'nin', Another Show from the Musical Kiss me, Kate* [00:13:01] - Jerome Kern Make Believe from the Musical Show Boat**/+ [00:21:52] - Jerome Kern Ol' Man River from the Musical Show Boat+++ [00:25:04] - Meredith Willson Ya got trouble from the Musical The Music Man++ [00:28:57] - Richard Rodgers Falling in Love with Love from the Musical The Boys from Syracuse** [00:32:18] - Richard Rodgers, Oscar Hammerstein Younger than springtime from the Musical South Pacific+ [00:36:56] - Richard Adler, Jerry Ross Seven and a Half Cents from the Musical The Pajama Game*/++ [00:41:36] - Richard Rodgers Slaughter on Tenth Avenue (balet music suite) Part II [00:53:40] - Frederick Loewe The lusty month of May from the Musical Camelot** [00:59:46] - Frank Loesser Sue me from the Musical Guys and Dolls*/++ [01:03:01] - Frank Loesser Joey Joey Joey from the Musical The most happy Fella++ [01:07:13] - Leonard Bernstein Coney Island Ballet from the Musical On the Town [01:16:24] - George Gershwin Bess, you is my woman now from the opera Porgy and Bess***/+++ [01:22:34] - Jerry Bock Little Tin Box from the Musical Fiorello! [01:26:58] - Richard Rodgers, Oscar Hammerstein II Come Home from the Musical Allegro*** [01:31:32] - Jule Styne Don't rain on my Parade from the Musical Funny Girl* [01:35:06] - Jerry Herman Mame, from the same named Musical*/**/***/+/++/+++ Encore [01:43:22] - Jerry Herman Tap your troubles away from the Musical Mack and Mabel* * Anna-Jane Casey, singer/ Sierra Boggess, soprano/ Elizabeth Llewellyn, soprano + Julian Ovenden, tenor ++ Seth MacFarlane, baritone +++ Rodney Earl Clarke, bass-baritone Maida Vale Singers John Wilson Orchestra John Wilson, conductor Recorded live on 27.08.2012 at the Royal Albert Hall, London
Mazurka composed by Tekla Badarzewska arranged and performed by Maria Pomianowska/Paweł Betley Tekla Bądarzewska-Baranowska – polska pianistka i kompozytorka salonowych utworów na fortepian. Skomponowała ok. 35 miniatur, a światową sławę zyskała utworem Modlitwa dziewicy. Nuty tej miniatury ukazały się w 1856 roku w Warszawie Trzy lata później przedrukowane zostały przez paryski Revue et Gazette musicale, i od tego momentu utwór cieszy się popularnością wśród pianistów-amatorów. Opracowywano „Modlitwę...” również na inne instrumenty, jak też na rozmaite zespoły. W 1930 roku Kurt Weill wykorzystał kompozycję w operze Rozkwit i upadek miasta Mahagonny. Utwór wykonywany i nagrywany jest do dzisiaj. Ukazał się w co najmniej 80 wydawnictwach w różnych krajach, m.in. we Francji, Niemczech, Anglii, Włoszech, Australii. W roku 1993 w Korei Północnej ukazała się kaseta VHS z występem zespołu elektronicznego Pochonbo, na której została przedstawiona "Modlitwa dziewicy" w elektronicznej aranżacji. W 2007 w Japonii nagrano pierwszy w historii album z kompozycjami Tekli Bądarzewskiej „Spełniona Modlitwa Dziewicy”. Modlitwa dziewicy była pierwszym polskim utworem, jaki nagrano w Skandynawii. W roku 2012 nagrano pierwszą polską płytę z muzyką Bądarzewskiej Zapomniany dźwięk w wykonaniu Marii Pomianowskiej i Przyjaciół, wydano także książkę Beaty Michalec „Tekla z Bądarzewskich Baranowska, autorka nieśmiertelnej La prière d’une vierge – Miejsca, czas i ludzie”. Tekla Bądarzewska-Baranowska (1829/1834 – 29 September 1861) was a Polish composer. She wrote about 35 small compositions for piano; by far her most famous composition is the piece Modlitwa dziewicy, Op. 4 ("A Maiden's Prayer", French: La prière d'une vierge), which was published in 1856 in Warsaw, and then as a supplement to the Revue et gazette musicale de Paris in 1859. The Maiden's Prayer would be found to be still selling, and as for the Empire at large, Messrs. Allen of Melbourne reported in 1924, sixty years after the death of the composer, that their house alone was still disposing of 10,000 copies a year.. The composition is a short piano piece for intermediate pianists. Some have liked it for its charming and romantic melody, and others have described it as "sentimental salon tosh." The pianist and academic Arthur Loesser described it as a "dowdy product of ineptitude." The American musician Bob Wills arranged the piece in the Western swing style and wrote lyrics for it. He first recorded it in 1935 as "Maiden's Prayer". Later, it became a standard recorded by many country artists. It is also played on certain garbage trucks in Taiwan. In the 1930 opera Rise and Fall of the City of Mahagonny by Kurt Weill and Bertolt Brecht, scene 9 in act 1 is satirically based on a pianistic paraphrase of the piece, whose theme is quoted by the men's chorus later in the following ensemble. In 2007 first CD with her compositions was published in Japan. In 2012 Maria Pomianowska published first in Poland CD with music of Tekla Badarzewska.
Toscha Seidel Grieg Loesser 1899 1931 1962
Toscha Seidel トーシャ・ザイデル+••.••(...)) Piano acc. by Arthur Loesser, Recorded in 1931 00:00 - I. Allegro molto ed appassionato 08:39 - II. Allegretto espressivo alla Romanza - Allegro molto - Tempo I. 15:31 - III. Allegro animato transferred from Jpn Columbia 78s / J-7894/6(98642/7)
Nikolai Kapustin Liszt Lyapunov Godowsky Chopin Earl Wild Gershwin Rachmaninov Arensky Scriabin Erik Satie Leonard Bernstein Scott Joplin Stephen Sondheim Kern Frank Loesser Coleman 1937 1984 2000
Nikolai Kapustin +••.••(...)) - Eight Concert Etudes, Op. 40 (1984) I. Prelude. Allegro Assai [0:00] II. Reverie. Moderato [2:08] III. Toccatina. Allegro [5:07] IV. Remembrance. Larghetto [7:22] V. Raillery. Vivace [11:21] VI. Pastorale. Allegro moderato [13:40] VII. Intermezzo. Allegretto [16:11] VIII. Final. Prestissimo [19:47] Nikolai Kapustin, piano (2000) "For stylistic breadth, formidable technical challenges, and audacious invention, the Eight Concert Études, Op. 40 (1984) more than hold their own with the genre’s celebrated benchmarks, from Liszt and Lyapunov to Godowsky’s retooled Chopin and Earl Wild’s Gershwin transformations. No. 1 (Allegro assai) tears out from the starting gate with a twelve-bar introduction that quickly transports us to the crowded streets of Rio de Janeiro at the height of Carnival season. Yet for all the music’s giddy groove and melodic uplift, its tempestuous, Chopinseque figurations never relent. Nor do the second Étude’s equally difficult yet gentler double notes that provide a contemporary counterpart to Rachmaninov’s Prelude Op. 23 No. 9. Its outer sections filter Arensky and Lyapunov through Kapustin’s jazz-tinted eyeglasses, in contrast to pure, unadulterated jazz fantasia characterizing the central episode. The first Étude’s Latino elements come more aggressively to the fore in the Toccatina (No. 3), with the young, passionate Scriabin peeking in at fleeting lyrical moments. Repeated notes jump from register to register, suggesting the dapper syncopations of Gershwin’s Rhapsody in Blue. Imagine the long, gorgeously discursive lines Chick Corea spins out in his unaccompanied improvisations against a slow and steady, processional-like left-hand accompaniment (think Erik Satie’s Gymnopédies, or Bill Evans’ Peace Piece) alternating between 3/4 and 4/4 time, and you’ve got the essence of Étude No. 4. At times the textural tables turn, so to speak, as the filigree descends into the piano’s lower depths, while the billowy left-hand chords, in turn, gain altitude and get to sing out the piece’s big tunes in the process. In No. 5 Kapustin subjects the classic twelve-bar blues form to a playful boogie-woogie treatment, replete with whirling barrelhouse licks, Leonard Bernstein accents that are unpredictable enough to cause an ‘age of anxiety’ on the performer’s part. Happily, Kapustin’s sophisticated reharmonizations never detract from the music’s earthy core. The multi-strain formula employed so effectively in Scott Joplin’s rags and James P Johnson’s stride showpieces finds a modern counterpart in Étude No. 6, albeit with twists and turns that wouldn’t have happened without Stephen Sondheim. And just as Sondheim’s Follies pastiches the styles of Broadway’s first golden age (Gershwin, Porter, Kern, Berlin), so Étude No. 7’s disarming tunefulness evokes a subsequent generation of American musical theatre giants (Frank Loesser, Cy Coleman, Charles Strouse, Jerry Herman). Behind the music’s easy lope, however, lies some dazzling piano writing, including extensive, exposed passages in thirds. No. 8 (Prestissimo) is similar in style and mood to Nos 1 and 3, but more compact." (source: (http•••) Original audio: (http•••)
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