Henry Clay Work Vidéos
compositeur de chansons, imprimeur
Commémorations 2024 (Décès: Henry Clay Work)
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2024-04-26
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Johann Sebastian Bach Dag Jensen Jensen Christian Ferdinand Abel Zimmermann Stinson Johann Peter Kellner Dreyfus Peters Collegium Musicum Café Zimmermann 1079 1723 1729 1976 1991 2013
00:00 - I. Adagio 04:06 - II. Allegro ma non tanto 07:38 - III. Andante 09:54 - IV. Allegro moderato / Bassoon: Dag Jensen Harpsichord: Knut Johannessen Year of Recording: 2013 / "The sonatas for viola da gamba and harpsichord, BWV 1027–1029, are three sonatas composed by Johann Sebastian Bach for viola da gamba and harpsichord. They probably date from the late 1730s and early 1740s. Although the dating of Bach's three sonatas for viola da gamba and cembalo has presented problems for musicologists, because only an autograph score of the first sonata BWV 1027 survives, there is now general consensus that the works were written in Leipzig at some time in the late 1730s and early 1740s. Prior to that commentators had suggested that they dated from an earlier period when Bach was in Cöthen or even beforehand: the viola da gamba player Christian Ferdinand Abel was one of the court musicians of Prince Leopold at Cöthen. Bach moved to Leipzig as Thomaskantor in 1723 and in 1729 was appointed director of the Collegium Musicum, a chamber music society that put on weekly concerts at the Café Zimmermann. Other versions of BWV 1027 exist: there is a trio sonata for two transverse flutes and continuo (BWV 1039); as well as a trio sonata for organ in three movements. Russell Stinson has determined that the organ work, with the first two movements transcribed from BWV 1039/i and BWV 1039/ii and the last from BWV 1027/iv, is not by Bach but most probably by Johann Peter Kellner. In the late 1980s four new editions of the sonatas appeared, including the Urtext edition of Laurence Dreyfus for C.F. Peters; in a long accompanying text Dreyfus presented detailed arguments for the works to be dated to Bach's period in Leipzig. In a subsequent study of Bach's chamber music, Wolff (1991) came to the same conclusion and gave provisional dates for many of Bach's chamber music and concertos in his Leipzig period. No precedence had been given to BWV 1027 or BWV 1039, beyond the fact that long notes are easier to sustain on a transverse flute than a harpsichord. The dating of BWV 1027–1028 is explained in detail by Jones (2013) in his analysis of Bach's instrumental works. including his flute sonata in E major (BWV 1035), the triple concerto in A minor for flute, violin and harpsichord (BWV 1044) and the trio sonata for flute, violin and continuo from the Musical Offering (BWV 1079)." (Wikipedia) / 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.
Bach Christian Ferdinand Abel 1717 1723 1726
It is thought that Bach wrote his six suites for unaccompanied cello between 1717 and 1723, while he was in the employ of Prince Leopold of Anhalt-Cöthen and had two superb solo cellists, Bernard Christian Linigke and Christian Ferdinand Abel, at his disposal. However, the earliest copy of the suites dates from 1726, and no autographs survive. Thus a chronological order is difficult to prove, though one guesses that these suites were composed in numerical order from the way that they gradually evolve and deepen, both technically and musically. A Baroque suite is typically a collection of dance movements, usually in binary form with each half repeated. Common elements of the suite were the Allemande (German dance), a moderately slow duple-meter dance; the Courante, a faster dance in triple meter; the Sarabande, a Spanish-derived dance in a slow triple meter with emphasis on the second beat; and a Gigue (Jig), which is rapid, jaunty, and energetic. Bach took these typical dance forms and abstracted them, and then added a free-form, almost improvisatory Prelude which sets the tone for each suite, and a galanterie, an additional dance interposed between Sarabande and Gigue. (In the first two suites, Bach uses a pair of Minuets.) With these dances, Bach experimented and created the first, and arguably still the finest, solo works for a relatively new instrument. The Suite in D minor is one of two minor-key suites among the six for solo cello. With this suite, Bach seems to aspire to an almost Beethovenian mixture of tragedy and defiance, all within his usual framework of strict procedures. There are six movements: a Prelude, Allemande, Courante, Sarabande, double Minuet, and Gigue. The Prelude reminds this listener of a great Bach organ toccata (and some observers, indeed, have speculated on links between Bach's organ improvisations and his string writing). Bach uses a simple arpeggio figure to build phrases of ever-increasing complexity, as in the parallel passage in the first suite. But here the minor-key arpeggio that sets the tone for the work is used to gradually build tension as it climbs through the cello's range in a series of rising waves. The movement builds to a high-pitched, tense climax, followed by an improviser's silence while the echoes die out. Finally we return to the low strings for a coda that sums up the movement in small, intimate terms. Although this piece was originally written for cello, I transcribed it for Viola and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software ((http•••) Sheet music made with MuseScore - (http•••)
Claudio Abbado Montserrat Caballé Caballé Cecilia Gasdia Lucia Valentini Terrani Chris Merritt Samuel Ramey Giuseppe Verdi Teatro Scala 1985 2013
Montserrat Caballé Sopran · Cecilia Gasdia Sopran · Lucia Valentini Terrani Mezzosopran · Peter Dvorsky Tenor · Chris Merritt Tenor · Samuel Ramey Bass· GIULIO BERTOLA Chorus Master CHOIR AND ORCHESTRA OF THE SCALA DI MILANO Claudio Abbado This DVD will be available in May 2013. Verdi first presented his Messa da Requiem in the Church of San Marco. It was his emotional response to the death of the Italian national poet Alessandro Manzoni. He poured his entire dramatic skill, the fruit of thirty years of theatrical work, into this memorial Mass. Three days after the première, Verdi performed the work at a sold-out La Scala. After that he immediately traveled to Paris to present it there. The following year, there was a regular tour that took him and his troupe with the Requiem and Aida through half of Europe all the way to Vienna. This film is about Giuseppe Verdi's Messa da Requiem and about the conductor Claudio Abbado but at the same time it is a study of the theme of transience depicting scenes of musical rehearsals and symbols of life. It shows rehearsals for this grandiose musical creation taking place in three different locations: at the church of San Marco in Milan, on the main stage at Teatro alla Scala and in one of the rehearsal rooms of the opera house. The result is an opportunity to directly compare the performances of two world-known sopranos and tenors.A film by Norbert Beilharz. Recorded at the church of San Marco, 1985 REPERTOIRE: Versi: Messa da Requiem
Johann Sebastian Bach Claudio Abbado Giuliano Carmignola Michala Petri Christian Ludwig Giuseppe Verdi Herbert Karajan Orchestra Mozart Vienna State Opera Berlin Philharmonic Teatro Municipale Valli Milan Scala 1685 1718 1720 1721 1750 1933 1968 1984 1989 2002 2004 2007 2011 2014
Claudio Abbado and the Orchestra Mozart perform Johann Sebastian Bach’s Brandenburg Concerto No. 4 in G major, BWV 1049, at the Teatro Municipale Valli in Reggio Emilia, Italy (2007). This Brandenburg Concerto No. 4 has a very special line-up: principal violin (Giuliano Carmignola), two recorders (Michala Petri and Nikolaj Tarasov) and a string orchestra. Bach described the recorders as "Fiauti d'echo", or "echo flutes", although it’s not quite clear what he meant by that. The fourth of the Brandenburg concerts is the only work that uses "echo flutes" as far as we know today. The Brandenburg Concerto No. 4 was probably written in 1720 as one of the last or even the last of the six Brandenburg Concertos. 00:00 I. Allegro 07:11 II. Andante 10:54 III. Presto The Brandenburg Concertos (BWV 1046–1051) by Johann Sebastian Bach (1685 – 1750) are a collection of six instrumental works, which Bach dedicated to Christian Ludwig, Margrave of Brandenburg, in 1721. They are regarded as some of the best orchestral compositions of the Baroque era. The concerts were, however, likely composed between 1718 and 1721, for Bach’s Köthener Hofkappelle. Bach’s original title, Six Concerts with Various Instruments, describes exactly what is special about these concerts; the varied use of several instruments – with different strings, wind instruments, or solo harpsichord for the concertini. Watch the other 5 Brandenburg Concertos with Abbado and the Orchestra Mozart: (http•••) (http•••) (http•••) (http•••) (http•••) The Orchestra Mozart was founded in 2004 to afford talented, young musicians the opportunity to play in a world-class orchestra, with world-class conductors. Claudio Abbado +••.••(...)) is considered one of the greatest conductors of all time. In 2011, Classic Voice music magazine named Abbado the most important of the top 100 living conductors. He was born into a family of musicians in Milan, Italy, on June 26, 1933. Following his study of conducting, piano, and composition at the Giuseppe Verdi Conservatory in Milan, he furthered his education at the Vienna Music Academy. In 1968, Abbado became head conductor of the Milan Scala. In the subsequent years, he could be seen on the world’s great concert stages; in Milan, London, and Chicago. Following his 1984 debut at the Vienna State Opera, he became the city’s general music director. In October of 1989, the members of the Berlin Philharmonic elected him artistic director, succeeding Herbert von Karajan. He remained in Berlin until 2002. Abbado died in Bologna on January 20, 2014, aged 80, following a long battle with cancer. EuroArts Music International GmbH Watch more concerts in your personal concert hall: (http•••) and in our Bach playlist: (http•••) Subscribe to DW Classical Music: (http•••) #JohannSebastianBach #BrandenburgConcertos #ClaudioAbbado
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