John Sims Reeves Vidéos
Ténor britannique
- ténor
- Royaume-Uni de Grande-Bretagne et d'Irlande
- artiste lyrique
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2024-05-11
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Sadao Harada Bach Kirchner Dyson Atkins Cramer Harman Drake Hawkins Reeves Harada Kazuhide Isomura 1998 1968 1967 1964 1963 1962 1949 1923 1800 Travis
(Written by Tommy Blake - Carl Belew). Recorded Circa November 1962 by Carl Belew as "Pretty Brown Eyes" [released 1963] Issued on RCA VIctor 47 - 9455 A Charted 1968 # 9. Charted for THIRTEEN Weeks 1968 (UK) # 33 5 Weeks on the Charts Recorded 1 February 1962 - [18.45 - 22.45] - RCA Victor Studio,1610 Hawkins Street,Nashville,TN - Jim Reeves [vcl solo/gt], Leo Jackson [gt],Velma Smith [gt], Pete Drake [steel gt],Joseph Zinkan [bass], Buddy Harman [drums], Floyd Cramer [piano], Marvin Hughes [vibes], and The Jordanaires [vcl chorus]...Producer : Chet Atkins. Recorded 3 January 1968 [overdub session, 18:00 - 22:00] RCA Victor Studio, 800 17th Ave. South, Nashville, TN – Charlie McCoy [gt/vibes], Bobby Dyson [bass], Buddy Harman [drums], Melvin Rogers [drums], Rufus Long [flute], Jane Kirchner [flute], Byron T. Bach, Sadao Harada [cello], Marvin D. Chantry, Gary Vanosdale [viola], Lillian Vann Hunt, Kazuhide Isomura, Martin Kathan, Pierre J. Menard, Jo Parker [violin]...Producer : Chet Atkins Born James Travis Reeves in Galloway TX +••.••(...)). Recorded From 1949 to 1964 Elected Posthumously to Country Music Hall of Fame in 1967 Texas Country Music Hall of Fame in 1998.
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
Éva Haydn Elisabeth Schumann Schumann Fischer Bartók Dohnányi Ernő Kodály Zoltán Bach Végh Schubert Reeves Chopin Palánkay Székely Ferencsik Kodály 1925 1932 1995 2000
1995.december 25. Kossuth, 20.05 RÁDIÓFÓNIA / 39. rész 75 esztendő a magyar zene hullámhosszán +••.••(...)) Bieliczkyné Buzás Éva összeállítása Az 1932-es év zenei eseményeiből: A tartalomból: Haydn: A teremtés című oratóriumának közvetítése Sopronból / A Bécsi Hegedűverseny magyar résztvevőinek hangversenye a stúdióban / Elisabeth Schumann dalestjének közvetítése Bécsből / Fischer Annie zongorahangversenye a rádióban / Sík Sándor költői estje / Az új magyar operaírás mesterei: Bartók Béla (A kékszakállú herceg vára először a rádióban), Dohnányi Ernő (A vajda tornya) és Kodály Zoltán (Háry János) Zenei bejátszások: 1./ Haydn: A teremtés / Bevezetés (vez. Igor Markevics) 2./ Bach: Szólószonáta / III.IV. tétel BWV. 1001. (Végh Sándor / hg.) 3./ Schubert: Tavaszvárás, Hová? (Elisabeth Schumann / ének, George Reeves / zg.) 4./ Chopin: Fantasia impromptu Op. 66. No. 4. (Fischer Annie / zg.) 5./ Bartók: A kékszakállú herceg vára / 7. ajtó (Palánkay Klára, Székely Mihály) 6./ Dohnányi: Változatok egy gyermekdalra / részl. (a szerző / zg, + zkr.) 7./ Kodály: Háry János / Intermezzo (OH zkra, vez. Ferencsik) *
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