Vincent Persichetti Vidéos
compositeur
Commémorations 2025 (Naissance: Vincent Persichetti)
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- États-Unis
- chef ou cheffe d'orchestre, compositeur ou compositrice, musicologue, professeur ou professeure de musique, professeur ou professeure d'université, pianiste
Dernière mise à jour
2024-04-27
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Provided to YouTube by NAXOS of America Symphony No. 6, Op. 69: I. Adagio - Allegro (Live) · The Texas A&M University Wind Symphony 2019 Texas Music Educators Association (TMEA): Texas A & M University Wind Symphony (Live) ℗ 2019 Mark Records Released on: 2020-10-02 Ensemble: The Texas A&M University Wind Symphony Conductor: Timothy Rhea Composer: Vincent Persichetti Auto-generated by YouTube.
Jacob Raphael Druckman Marc Antoine Charpentier Bernard Wagenaar Wagenaar Aaron Copland Bard David Zinman Wolfgang Sawallisch Zubin Mehta Leonard Slatkin Dawn Upshaw Jan Degaetani Tanglewood New York Philharmonic Dorian Wind Quintet 1928 1949 1950 1954 1964 1972 1982 1985 1990 1996 1997
Brass Ring "New American Classics" 1996 (http•••) Commissioned by the Brass Ring with the support of the Connecticut Commission on the Arts. First performed by the Brass Ring at Toad's Place, New Haven, Connecticut on 16 April, 1990. The work embraces fragments from the aria Quel prix de mon amou? from Act III, scene 3 of the opera Medee (1964) by Marc Antoine Charpentier. Jacob Raphael Druckman (June 26, 1928 – May 24, 1996) was an American composer born in Philadelphia. A graduate of the Juilliard School, Druckman studied with Vincent Persichetti, Peter Mennin, and Bernard Wagenaar. In 1949 and 1950 he studied with Aaron Copland at Tanglewood and later continued his studies at the École Normale de Musique in Paris (1954–55). He worked extensively with electronic music, in addition to a number of works for orchestra or for small ensembles. In 1972 he won the Pulitzer Prize for his first large orchestral work, Windows. He was composer-in-residence of the New York Philharmonic from 1982 until 1985. Druckman taught at Juilliard, The Aspen Music Festival, Tanglewood, Brooklyn College, Bard College, and Yale University, among other appointments. He is Connecticut's State Composer Laureate. Druckman died of lung cancer at age 67. His music is published by Boosey & Hawkes. He is the father of percussionist Daniel Druckman. Notable musicians who have recorded his works include David Zinman, Wolfgang Sawallisch, Zubin Mehta, Leonard Slatkin, Dawn Upshaw, Jan DeGaetani, Dorian Wind Quintet, and the American Brass Quintet. Source: (http•••) The purpose of this video is strictly educational and to promote chamber brass music abroad. Please support composers and performers.
Peter Schickele Weiss Oberlin Bach Moorhead Hindemith Bartók Stravinsky Roy Harris Darius Milhaud William Bergsma Buffy Deems Taylor Lark Saint Louis Symphony Minnesota Opera Chamber Music Society Lincoln Center Lincoln Center 1713 1957 1959 1961 1965 1968 1971 1976 1992 1993 1998 2015
00:00 - I. Blues: Sweet, simple, graceful 06:00 - II. Intermezzo: Easy-going 10:18 - III. Scherzo: Lively 17:13 - IV. Song: Calm, flowing 22:37 - V. Romp: Fast, energetic / Bassoon: George Sakakeeny Conductor: Timothy Weiss Orchestra: Oberlin Contemporary Music Ensemble Year of Recording: 2015 / "Peter Schickele, although an accomplished composer, musicologist, performer, and radio host, is better known for "discovering" the musical works of P.D.Q. Bach, the fictional last and least son of J.S. Bach. Schickele grew up in an amateur musical family in Washington, D.C., and in Fargo, where he became the town's only bassoonist. His composition teacher was the conductor of the Fargo-Moorhead Orchestra, Sigvald Thompson. Schickele went on to become the only music major at Swarthmore College. By the time he graduated in 1957, he had composed chamber music, songs (including rock & roll songs), and four orchestral works, and he was also arranging music for dance bands and jazz groups. He was struck by the music of Hindemith, Bartók, Elvis, and Ray Charles, but particularly by Stravinsky and the Everly Brothers. He stopped being a loner and started studying with Roy Harris and Darius Milhaud, then William Bergsma and Vincent Persichetti at Juilliard. He received a Ford Foundation grant to compose for the Los Angeles high schools, then became a teacher himself at Juilliard from 1961 to 1965. Since then, he has dedicated himself to composing, arranging, and performing, based in New York City where he and his wife, poet Susan Sindall, make their home. He began arranging music for Joan Baez, Buffy Sainte-Marie, and other folk singers. He created music for movies, including Silent Running; documentaries; and TV, including segments for Sesame Street. From 1968 to 1971, he and fellow composers Robert Dennis and Stanley Walden were the Open Window, a chamber rock group that played in solo and mixed media concerts and with symphony orchestras. They also wrote songs and were the pit band for the musical Oh, Calcutta! After that, he concentrated on writing and performing the increasingly popular music of P.D.Q. Bach. The Bach works are a mixture of satires on, spoofs of, and homages to a whole range of classical masterpieces. The music had been heard in concerts at end-of-season events at Juilliard and the Aspen Music Festival since 1959. Public concerts of this music began in 1965 and have spawned over a dozen recordings (a few winning Grammy awards) and The Definitive Biography of P.D.Q. Bach, by the "discoverer" of these works, "Professor" Peter Schickele. In 1992, he began the public radio program Schickele Mix, a musicologically educational, but entertaining, survey that draws connections between everything from the music of the ancient world to Bach to Motown. The show was given ASCAP's Deems Taylor Award in 1993. As well as serving as composer-in-residence at schools and festivals, Schickele has received numerous commissions for new works from such varied organizations as the Saint Louis Symphony, the Minnesota Opera, the Lark and Audubon quartets, and the Chamber Music Society of Lincoln Center. He also frequently writes "personal" pieces, many of them rounds, as trinkets to commemorate friends and events." (Patsy Morita) / 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.
Peter Schickele Roy Harris Darius Milhaud Jorge Mester Bach Humbert Handel Bax Britten Paul Freeman Freeman Czech National Symphony Orchestra National Symphony Orchestra 1900 1935 1957 1960 1965 1968 1972 1980 1984 1995 2000
Score Maker/Music Chat Discord Server: (http•••) Composer: Peter Schickele ( b. 1935 ) The son of immigrants, Schickele was born in Ames Iowa and raised in Washington D.C. and Fargo, North Dakota. His family was musical and played much chamber music, a practice to which Schickele has attributed his early knowledge of string quartets. Although he played the bassoon—he claimed to have been the only bassoonist in Fargo, North Dakota—he gravitated early to composition. After graduating from Swarthmore in 1957, Schickele studied composition with Roy Harris and Darius Milhaud, both of whom were notable influences, before attending the Juilliard School, where he studied with Vincent Persichetti. Schickele’s parodistic tendencies were apparent early: he performed a humorous concert with conductor Jorge Mester while still a Juilliard student, and in 1965 he performed a similar concert at Town Hall, New York, that introduced the public to P.D.Q Bach. Two years later he formed a “chamber-rock-jazz” trio called Open Window that performed his chamber works. This blending of styles has often resulted in the juxtaposition of seemingly incongruous musical resources, such as the amplified keyboards (piano, organ, and harpsichord) and orchestra for The Fantastic Garden (1968), “rock group” and orchestra for Requiem Mantras (1972), or bluegrass band and orchestra for Far Away from Here (1984). But his grasp on these resources is generally firm and has resulted in Schickele’s receiving honorary doctorates (Swarthmore, 1980; North Dakota State University, 1995), several GRAMMY awards, and ongoing commissions for new works. Oboe Concerto ( 1995 ) The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you’ve got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I’m very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I’ve always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960’s, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane’s “sheets of sound” did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother?s wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe?s uniquely soulful singing. I had not heard Pamela Woods Pecha?s solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B’s (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn’t end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. / Peter Schickele Movements 0:00 I. Aria 4:25 II. Scherzo 9:11 III. Chant 15:10 IV. Dances 19:21 V. Epilogue Instrumentation Oboe & Orchestra Performer: Artist: Pamela Pecha Conductor: Paul Freeman Orchestra: Czech National Symphony Orchestra The music published in my channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900 & 2000's (& some Baroque/Before) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform me immediately before you submit a claim to Youtube, and it will be my care to remove immediately the video accordingly. Your collaboration will be appreciated. Score Cropping By: (http•••)
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