Jean-Marie Zeitouni Vidéos
Dernière mise à jour
2024-04-20
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Opera National Lorraine Massenet Edgaras Montvidas Stéphanie Oustrac Jean Marie Zeitouni Dima Schmidt
Werther de Massenet à l'Opéra national de Lorraine : le triomphe d'Edgaras Montvidas et Stéphanie d'Oustrac (Magazine Diapason) Bruno Ravella - Director, Jean-Marie Zeitouni - Conductor, Edgaras Montvidas - Werther, Stéphanie d'Oustrac - Charlotte, Philippe-Nicolas Martin - Albert, Dima Bawab - Sophie, Marc Barrard - Le Bailli, Eric Vignau - Schmidt, Erick Freulon - Johann
Richard Strauss Arvo Pärt Jean Marie Zeitouni I Musici
Richard Strauss/Arvo Pärt est le tout premier enregistrement présenté chez ATMA par I Musici de Montréal, sous la direction de Jean-Marie Zeitouni. Metamorphosen de Strauss est une étude majeure pour 23 solistes, composée en réponse à la dévastation de la Seconde Guerre mondiale. L'œuvre est associée à la Symphonie n° 4 "Los Angeles" d'???????????????? ????????̈????????, décrite par le compositeur comme "un salut à la grande puissance de l'esprit humain et de la dignité humaine". Maintenant disponible sur la boutique en ligne ATMA CLASSIQUE (http•••) - Richard Strauss/Arvo Pärt is our first recording project with I Musici de Montréal under Jean-Marie Zeitouni. Strauss's Metamorphosen is a major study for 23 soloists, composed in response to the devastation of World War II. The work is paired with ???????????????? ????????̈????????'s “Los Angeles” Symphony No. 4, described by the composer as “a bow to the great power of the human spirit and human dignity." Now available on the ATMA CLASSIQUE online store (http•••)
Zeitouni Brahms Edwin Outwater
Edwin Outwater speaks about the Joan-Marie Zeitouni who will conduct Brams'
Joseph Haydn Pieter Wispelwey Jean Marie Zeitouni Weigl Esterházy Violons Roy 1761 1765 1961
Violons du Roy Pieter Wispelwey, cello Jean-Marie Zeitouni, conductor The Cello Concerto No. 1 in C Major, Hob. VIIb/1, by Joseph Haydn was composed around 1761--1765 for longtime friend Joseph Franz Weigl, then the principal cellist of Prince Nikolaus's Eszterházy Orchestra. After his departure from the orchestra, Prince Nikolaus, also an excellent cellist, was the responsible of the performance. The work was presumed lost until 1961, when musicologist Oldřich Pulkert discovered a copy of the score at the Prague National Museum. This early work, contemporaneous with symphonies 6, 7 and 8 and predating his D major cello concerto by around twenty years, already shows Haydn as a master of instrumental writing. The solo cello part is thoroughly idiomatic. The concerto reflects the ritornello form of the baroque concerto as well as the emerging structure of the sonata-allegro form. As in the baroque concerto grosso, the accompanying ensemble is small: strings, two oboes, and two horns. It is possible that Weigl was the only cellist in the Esterházy Orchestra when Haydn composed the concerto, since there is only one cello line in the score, marked alternately "solo" and "tutti." There is also, however, a basso continuo line, that might have been played by another cellist, or by Haydn himself on the harpsichord, or by a string bass player. All three movements of this work are written in sonata form, unlike the second concerto, where rondo form is used in the second and third movements. This concerto is more related to Haydn's violin concerti than its follower, holding very close resemblance to the Violin Concerto no. 3 in A major, such as the first movement's etched rhythms, and flowing second themes, a peaceful slow movement, and a brisk finale. Both concerti were composed in the same period of time. After the orchestral exposition of the first movement, the solo instrument plays the opening theme with full chords that use all four strings. Virtuosity is developed further in the use of rapidly repeating notes, the very high range, and quick contrasts of register. This movement is dominated by a single theme, although the theme itself includes several motives that Haydn develops separately. Near the end, a cadenza is played.
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