Levente Pall Vidéos
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2024-04-28
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Isidor Edmond Philipp Georges Mathias Frédéric Chopin Friedrich Kalkbrenner Camille Saint Saëns Stephen Heller Carl Czerny Beethoven Théodore Ritter Ritter Franz Liszt Claude Debussy Lamoureux Anton Rubinstein Rubinstein Charles Valentin Alkan Pall John Corigliano César Franck New York Philharmonic 1863 1883 1888 1890 1893 1896 1901 1921 1933 1934 1940 1955 1958
Isidor Edmond Philipp (first name sometimes spelled Isidore) (2 September 1863 – 20 February 1958) was a French pianist, composer, and pedagogue of Jewish Hungarian descent. He was born in Budapest and died in Paris. Isidor Philipp studied piano under Georges Mathias (a pupil of Frédéric Chopin and Friedrich Kalkbrenner) at the Conservatoire de Paris and won First Prize in piano performance in 1883. Other teachers included Camille Saint-Saëns, Stephen Heller (a pupil of Carl Czerny, one of Beethoven's students) and Théodore Ritter (a pupil of Franz Liszt). At the Conservatoire, he met fellow student Claude Debussy. They remained lifelong friends, and Philipp often played his compositions. After Debussy's death, Philipp was regarded as the leading authority on his piano music. After graduating from the Conservatoire, Philipp commenced a career which took him to various European countries, and he was a regular performer at the Colonne, Lamoureux and Conservatoire concerts in Paris. He was able to hear concerts, recitals or master classes by many of the leading pianists of the day, including Liszt and Anton Rubinstein. He knew Charles-Valentin Alkan and was a pall-bearer at the latter's funeral in 1888; he subsequently edited many of Alkan's works for republication. In 1890, Philipp formed a trio with Loeb and Bertelier which toured for about a decade. He revived the Société des Instruments à Vent from 1896 to 1901. However, he eventually curtailed his concertizing, as he found lasting satisfaction in teaching. He returned to the Conservatoire de Paris, where he was a pre-eminent professor of piano from 1893 to 1934, one of the youngest ever appointed to that institution. From 1921 to 1933, Philipp was also the head of the piano section at the American Conservatory of Fontainebleau, which became famous for starting the careers of many notable American composers. His home in Paris contained many ancient and unusual instruments and other musical artifacts. When the Nazis entered Paris in World War II and Philipp fled to the United States in 1940, the Nazis confiscated the contents of his apartment. During the war, he taught piano in New York and at the Conservatoire de musique du Québec à Montréal. While he was in New York, he gave recitals with the violinist John Corigliano, Sr. (Corigliano was the longtime concertmaster of the New York Philharmonic). After the war, he spent the rest of his life between New York and Paris. Philipp married once but he obtained a divorce shortly afterwards. On 20 March 1955, aged 91, he played the piano part in both Saint-Saëns' D minor Sonata and César Franck's Violin Sonata in New York, returning to Paris a year later. He gave his farewell recital at the age of 92, in Paris. He died there in 1958 after a fall on the Paris metro. He is buried in the Père Lachaise Cemetery. (Wikipedia) Please take note that the audio AND sheet music ARE NOT mine. Feel free to change the video quality to a minimum of 480p for the best watching experience. Original audio: Julian Zalla (@Gamma1734) ((http•••) Original sheet music: imslp.org/wiki/Album_Leaf_(Philipp%2C_Isidor) (Theodore Presser, 1901)
Pall 1910 1926 1930 1931 1932 1934 1957 1959 1971 1984
Jo Siffert dies in crash - Brands Hatch (Brand's Hatch). Kent. MS start of race as car speeds off. CU cars coming around corner. LS pall of smoke rising from track where Jo Siffert's car has left track after crash. Closer shots of the inferno round car with firefighters being driven back as they spray foam on the wreck. 16mm CHECK COPYRIGHT. Note: Crash happened 24 October 1971. FILM ID:3292.13 A VIDEO FROM BRITISH PATHÉ. EXPLORE OUR ONLINE CHANNEL, BRITISH PATHÉ TV. IT'S FULL OF GREAT DOCUMENTARIES, FASCINATING INTERVIEWS, AND CLASSIC MOVIES. (http•••) FOR LICENSING ENQUIRIES VISIT (http•••) British Pathé also represents the Reuters historical collection, which includes more than 136,000 items from the news agencies Gaumont Graphic +••.••(...)), Empire News Bulletin +••.••(...)), British Paramount +••.••(...)), and Gaumont British +••.••(...)), as well as Visnews content from 1957 to the end of 1984. All footage can be viewed on the British Pathé website. (http•••)
Schubert Probst Beethoven Pall Woo 1155 1828
Schubert’s last three piano sonatas, written between the spring and autumn of 1828, the last year of his life, are often considered as a group, sharing many elements of structure and form. He performed the three sonatas at a concert for his friends on 28 September 1828, and in October offered them to his publisher, Probst, who was not interested. Schubert’s health, already weak, rapidly deteriorated and he died on 19 November 1828, at the age of thirty-one. The Sonata in C minor, like the others in the group of three, is strongly influenced by Beethoven, at whose funeral the previous year Schubert had been a pall-bearer. The opening of the Allegro first movement of this sonata is very close to the theme of Beethoven’s 32 Piano Variations on a theme (catalogue WoO80), which is also in C minor. There are also reminiscences of Beethoven’s 'Pathetique' sonata, No 8 Op 13, again in C minor. The second subject is a chorale-like tune in E flat major, the relative major to C minor. After the repeat of the exposition section, the development continues chromatically, exploring distant keys. At the recapitulation there is a return to the tonic, and the coda dies away in reminiscences of the development section. The second movement, Adagio, is in A flat major, and structured A-B-A-B-A. Its tranquil opening theme is developed in a way that gives it a darker quality, and in the B sections there is intense chromaticism and forceful, emotion-laden chords. The second appearance of the A and B sections is a semitone higher than before. The third movement is a menuetto and trio, but far darker and more sombre in mood than the usual classical minuet. The menuetto is in C minor, in two parts, each repeated, the second part containing two bar-long rests that give a disquieting feeling that persists to the end of the movement. The trio is in A flat major, structured A-B-A, with the B section in E flat major. The sonata-form final movement, Allegro, is again in C minor, and has a rapid, racing 6/8 rhythm reminiscent of a tarantella or a moto perpetuo. The first theme moves from C minor to C major, while the second moves towards C sharp minor. A new theme enters in the development section, progressing to a climax which introduces the recapitulation in which the first theme reappears in shortened form. The wild leaps and bounding arpeggios give the movement a liveliness that is offset by its predominantly minor key colouring, and leave something of the flavour of a dance of death. Intro [00:00] I. Allegro [00:10] II. Adagio [11:55] III. Menuetto: Allegro - Trio [20:50] IV. Allegro "Tarantella" [24:00]
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