Leo Sowerby Vidéos
compositeur américain
Commémorations 2025 (Naissance: Leo Sowerby)
- orgue
- États-Unis
- compositeur ou compositrice
streaming
Dernière mise à jour
2024-05-02
Actualiser
Roy Harris Ned Rorem George Antheil Lee Hoiby Irving Fine Leo Sowerby Lowell Liebermann Liebermann Benjamin Lees Lehman Gian Carlo Menotti Robert Muczynski Scarlatti Wallingford Riegger Morrison 1900 1949
from Albany TROY1142 (http•••) A fascinating look at how American composers have treated the toccata form. Touch: The Toccata Project is a collection of post-1900 piano toccatas written by American composers. The distinguished pianist Philip Amalong has uncovered many unknown gems of the genre. Amalong is known for his intelligent, passionate interpretations and diverse and challenging repertoire. A graduate of the University of Cincinnati College-Conservatory of Music, Mr. Amalong is an active recitalist and chamber music performer. Contents: Ned Rorem, composer Toccata Philip Amalong, piano George Antheil, composer Toccata No. 1 Philip Amalong, piano Lee Hoiby, composer Toccata Op. 1 Philip Amalong, piano Irving Fine, composer Little Toccata Philip Amalong, piano Leo Sowerby, composer Toccata Philip Amalong, piano Lowell Liebermann, composer Toccata Philip Amalong, piano George Antheil, composer Toccata No. 2 Philip Amalong, piano Benjamin Lees, composer Toccata Philip Amalong, piano Roy Harris, composer Toccata Philip Amalong, piano Mark Louis Lehman, composer Toccatina Philip Amalong, piano Gian Carlo Menotti, composer Ricercare and Toccata Philip Amalong, piano Robert Muczynski, composer Toccata Philip Amalong, piano Emma Lou Diemer, composer Serenade/Toccata Philip Amalong, piano Raymond Lewenthal, composer Toccata alla Scarlatti Philip Amalong, piano Wallingford Riegger, composer Toccata Philip Amalong, piano Vincent Persichetti, composer Toccatina No. 1 Philip Amalong, piano Vincent Persichetti, composer Toccatina No. 2 Philip Amalong, piano Vincent Persichetti, composer Toccatina No. 3 Philip Amalong, piano James Bastien, composer Toccata Philip Amalong, piano Review: "One must say a word about not only the cleverness of Philip Amalong's programming but his invigorating playing on this disc. I'd not known of him before but am definitely signing up for any further discs he decides to make." (Scott Morrison) "Philip Amalong...has said that he likes to play toccatas because he likes the way they feel in his hands and in his ears. It shows. his playing is both technically assured and joyous. This is a very-well-produced survey of American piano music, as heard through the filter of a particular form." (Fanfare) "All told, this is a fascinating project, and I look forward to further volumes." (ClassicsToday.com) "The moods may be diverse, but one thing i true for all pieces on this recording: they require considerable pianistic dexterity, and pianist Philip Amalong masters not only the technical challenges with sovereignty, but also offers interpretations of the more complex pieces...that are convincing and captivating." (American Record Guide)
Antonín Dvořák Edmund Rubbra Arthur Honegger Altman Isadore Freed Leo Sowerby Shepherd 1836
(Full information and track listing below the Amazon & Soundcloud links) Find the album at Amazon: (http•••) Listen and download a free track at the Affetto Soundcloud page: (http•••) Internationally renowned baritone Elem Eley’s fourth solo album, Forever Sing, is deeply personal, rooted in his southern upbringing and the heartfelt expression of singing from the Psalms. For this CD, Elem Eley chose beloved songs evoking memories of his youth, some that he has since called on in decades of performing around the world, and as Professor of Voice at Westminster Choir College of Rider University in Princeton, New Jersey. Meeting this challenge demands collaborators of diverse skills: His partner for the first three albums, pianist JJ Penna, plays the Classical settings of Dvořák, Rubbra, Honegger, and Altman. Concert organist Noel Werner accompanies Eley in the two sets by Isadore Freed and Leo Sowerby, recorded in the historic 1836 sanctuary of his home church, Nassau Presbyterian Church in Princeton, NJ. The final set of three Gospel songs is arranged and accompanied on piano by the nationally renowned Dr. J. Donald Dumpson of Philadelphia; their session was emotional and exciting to witness, as these two personal friends and outstanding artists created a unique sense and sound of the Gospel musical genre, unique to their partnership and recorded here for the ages. Pure genius in every track. Track Listing: Antonín Dvořák: Biblical Songs,Op. 99; JJ Penna, piano 1 | Clouds and darkness (1:53) 2 | Lord, Thou art my refuge (1:47) 3 | Hear my prayer (3:00) 4 | God is my shepherd (2:28) 5 | I will sing new songs (2:04) 6 | Hear my prayer, O Lord (2:46) 7 | By the waters of Babylon (2:39) 8 | Turn Thee to me (2:49) 9 | I will lift mine eyes (2:23) 10| Sing ye a joyful song (1:41) Edmund Rubbra: Three Psalms,Op. 61; JJ Penna, piano 11| Psalm 6 (3:56) 12| Psalm 23 (2:45) 13| Psalm 150 (1:33) Arthur Honegger: Trois Psaumes;JJ Penna, piano 14| Psaume XXXIV (1:20) 15| Psaume CXL (2:00) 16| Psaume CXXXVIII (0:48) 17| Isadore Freed:Psalm VIII;Noel Werner, organ (3:28) Leo Sowerby: Three Psalms(for baritone or contralto and organ); Noel Werner, organ 18| Whoso Dwelleth (Psalm 91) (6:31) 19| O Be Joyful in the Lord (Psalm 100) (3:05) 20| I Will Lift Up Mine Eyes (Psalm 121) (3:42) 21| Laurie Altman:My Shepherd, you supply my need;JJ Penna, piano (3:50) Three Gospel Songs;J. Donald Dumpson, arranger/piano 22| James Cleveland:I shall wear a golden crown (2:45) 23| Charles A. Tindley: Nothing Between (5:22) 24| Robert Lowry: How can I keep from singing? (3:55)
Florence Beatrice Price Dunner George Chadwick Frederick Converse Carl Busch Busch Leo Sowerby Marian Anderson Frederick Stock Chicago Symphony Orchestra 1887 1906 1910 1912 1927 1928 1931 1932 1933 1940 1949 1953 2001 2011
It is my sincere desire that any and all possible remuneration due me be instead directed to the performers and any other holders of copyright. Florence Price +••.••(...)) Symphony No. 1 in E minor I. Allegro (ma) non troppo 0:00 II. Largo, Maestoso 16:43 III. Juba Dance: Allegro 29:56 IV. Finale: Presto 33:50 New Black Repertory Ensemble Leslie B. Dunner, conductor Florence Beatrice Price was an American classical composer. She was the first African-American woman to be recognized as a symphonic composer, and the first to have a composition played by a major orchestra. Florence Beatrice Smith was born to Florence Gulliver and James H. Smith on April 9, 1887, in Little Rock, Arkansas, one of three children in a mixed-race family. Despite racial issues of the era, her family was well respected and did well within their community. Her father was a dentist and her mother was a music teacher who guided Florence's early musical training. She had her first piano performance at the age of four and went on to have her first composition published at the age of 11. By the time she was 14, Florence had graduated from Capitol High School at the top of her class and was enrolled in the New England Conservatory of Music with a major in piano and organ. Initially, she pretended to be Mexican to avoid the prejudice people had toward African-Americans at the time. At the Conservatory, she was able to study composition and counterpoint with composers George Chadwick and Frederick Converse. Also while there, she wrote her first string trio and symphony. She graduated in 1906 with honors and both an artist diploma in organ and a teaching certificate. She taught in Arkansas briefly before moving to Atlanta, Georgia, in 1910, where she became the head of Clark Atlanta University's music department. In 1912, she married Thomas J. Price, a lawyer, and moved back to Little Rock, Arkansas. After a series of racial incidents in Little Rock, particularly a lynching in 1927, the family moved to Chicago, where Florence Price began a new and fulfilling period in her compositional career. She studied composition, orchestration, and organ with the leading teachers in the city including Arthur Olaf Anderson, Carl Busch, Wesley La Violette, and Leo Sowerby, and published four pieces for piano in 1928. While in Chicago, Price was at various times enrolled at the Chicago Musical College, Chicago Teacher’s College, University of Chicago, and American Conservatory of Music, studying languages and liberal arts subjects as well as music. Financial struggles led to a divorce in 1931, and Florence became a single mother to her two daughters. To make ends meet, she worked as an organist for silent film screenings and composed songs for radio ads under a pen name. During this time, Price lived with friends and eventually moved in with her student and friend, Margaret Bonds, also a black pianist and composer. This friendship connected Price with writer Langston Hughes and contralto Marian Anderson, both prominent figures in the art world who aided in Price's future success as a composer. Together, Price and Bonds began to achieve national recognition for their compositions and performances. In 1932, both Price and Bonds submitted compositions for Wanamaker Foundation Awards. Price won first prize with her Symphony in E minor, and third for her Piano Sonata, earning her a $500 prize. Bonds came in first place in the song category, with a song entitled "Sea Ghost." The Chicago Symphony Orchestra, conducted by Frederick Stock, premiered the Symphony on June 15, 1933, making Price’s piece the first composition by an African-American woman to be played by a major orchestra. Price was inducted into the American Society of Composers, Authors, and Publishers in 1940 for her work as a composer. In 1949, Price published two of her spiritual arrangements, "I Am Bound for the Kingdom," and "I'm Workin’ on My Buildin'", and dedicated them to Marian Anderson, who performed them on a regular basis. On June 3, 1953, Price died from a stroke in Chicago, Illinois. Following her death, much of her work was overshadowed as new musical styles emerged that fit the changing tastes of modern society. Some of her work was lost, but as more African-American and female composers have gained attention for their works, so has Price. In 2001, the Women's Philharmonic created an album of some of her work. Pianist Karen Walwyn and The New Black Repertory Ensemble performed Price's "Concerto in One Movement" and "Symphony in E minor" in December 2011.
Lynnwood Farnam Puget 1781 1783 1822 1848 1931 1965 1992
Lynwood Farnam, Toccata on "O Filii et Filiae" John Weissrock in recital at the Cathédrale St. Pierre in Angoulême, October 18, 1992. Lynwood Farnam's Toccata on "O Filii et Filiae" was the first piece on the recital. It was one of John's signature pieces. The sound and the picture in this video leave quite a bit to be desired, but we are fortunate to be able to watch John play. We see the music as we hear it, and not as a surface appliqué, but from the inside out. List of pieces on the Angoulême recital: Lynwood Farnam: Toccata on "O Filii et Filiae" Jean Langlais: Chant de Paix Olivier Messiaen: Transports de Joie, from L'Ascension Marcel Dupré: Berceuse, from Suite Bretonne Marcel Dupré: Esquisse #2 in B-flat Minor Robert Schumann: Canon in B-Flat Major Jean Langlais: Dialogue on the Mixtures, from Suite Robert Schumann: Canon in B Minor Richard Purvis: Partita on "Christ ist Erstanden," last movement Leo Sowerby: Very Slowly, from the Sonatina Leo Sowerby: Pageant John La Montaine, Even Song Richard Purvis: Toccata Festiva, on "In Babilone" Ch.-M. Widor: Toccata, from Symphony No. 5 in F Major According to the description in www.musiqueorguequebec.ca, the organ has 55 stops and 61 ranks. Originally built by Simon-Pierre Miocque of Paris between 1781 and 1783, it was enlarged a bit by Didier in 1822, it was "romanticized" by Nicolas Henry of Bordeaux in 1848, reconstructed by Puget of Toulouse in 1931, and given the form we see in this video by Beuchet-Debierre of Nantes in 1965. For biographical information on John Weissrock, see (http•••) More of John Weissrock's music may be found at (http•••)
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