William Hayman Cummings Vidéos
musicien britannique
Commémorations 2025 (Décès: William Hayman Cummings)
- orgue, voix
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- Royaume-Uni de Grande-Bretagne et d'Irlande
- organiste, professeur ou professeure de musique, musicien ou musicienne, compositeur ou compositrice, chanteur ou chanteuse, musicologue
Dernière mise à jour
2024-04-26
Actualiser
Yaniv Or Ericson Laurence Cummings Cummings Avi Avital Avital
Official Page - עמוד רשמי : (http•••) Ensemble NAYA: Yaniv d'Or - countertenor Nora Roll - viola da gamba Anders Ericson - theorbo Laurence Cummings - organ/harpsichord Avi Avital - mandolin Yair Dalal - oud Erez Mounk - percussion Yotam Haimovitch - sitar
Beethoven Cummings Scarlatti Schumann 1770 1820 1823 1827 1835
Ludwig van Beethoven (baptised 17 December 1770 – 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the classical and romantic eras in classical music, he remains one of the most recognized and influential musicians of this period, and is considered to be one of the greatest composers of all time. Please support my channel: (http•••) Uploaded with special permission by Producer/Editor Peter Watchorn (http•••) Sonata No. 30 in E major, Op. 109 (1820) Dedication: Maximiliane Brentano 1. Vivace ma non troppo, sempre legato - Adagio espressivo (0:00) 2. Prestissimo (3:53) 3. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo (6:20) Penelope Crawford, fortepiano Conrad Graf, Wien, 1835 Description by Robert Cummings [-] By the time Beethoven composed this work, his output had declined substantially, perhaps owing to his deafness and disappointments in life. The only complete works to emerge from the period of 1820-1823 were the last three piano sonatas, the Missa Solemnis and the Ninth Symphony. Even when compared to these imposing works, the E major Piano Sonata retains its status of a masterpiece. It is a remarkable work in several respects. The first movement has a nearly unique structure: it opens with theme marked Vivace ma non troppo that almost immediately slows to an Adagio espressivo. Thereafter, the two contrasting tempos and utterances alternate. Scarlatti and Mozart had used such a scheme before, but never in such a bold and innovative fashion. On the surface, this short movement has a serene, almost angelic quality, but, like many other works written during this period, the composition's surface is merely one dimension among many. Indeed, nothing about this sonata is one-dimensional. Thus, for example, the subdued, brightly lit realm suggested by the beginning of the works eventually leads the listener to sections where the narrative slows down, conjuring up dark shadows that intimate feelings of longing and doubt. The second movement, given its sonata form structure would be typical of a Beethoven first movement if it were not for its terse development and extreme brevity. There are two subject groups in this Prestissimo, with the first led by an assertive theme that more than vaguely suggests Schumann's piano style. More subdued at the outset, the second subject generates tension and energy as it progresses. Following a brief development, an interesting reprise leads to a concise coda. The finale is twice as long as the previous two movements put together. It is a theme-and-variations scheme, whose main theme is marked Andante molto cantabile ed espressivo. The melody is beautiful, in style looking toward the Romantic movement that was then in its infancy. It is tranquil yet melancholy, pleased but valedictory. Some of the six variations generate further variations either through development (the third variation), or as a result of a two-tiered layout (the second variation). While the finale contains many lively moments, it is predominantly slow-to-moderate in tempo and generally subdued, gaining in confidence as the narrative proceeds. This movement concludes with the main theme played slowly and serenely. While the ending suggests a certain peaceful resolution of life's struggles and conflicts, it also reveals a feeling of resignation which is free of conflict and fear.
Woo Beethoven Halm Cummings Nikolaus Simrock Jörg Demus 1762 1770 1787 1792 1794 1823 1827
Enlace a Lista de Reproducción "Obras del catálogo Kinsky-Halm ("WoO") de Beethoven": (http•••) Enlace a Lista de Reproducción "Bagatelas, variaciones y piezas breves para piano de Beethoven": (http•••) Enlace a Lista de Reproducción "Beethoven: Composiciones con Piano a 4 Manos": (http•••) Beethoven escribió muchos conjuntos de variaciones para piano, pero éste es inusual pues es uno de los pocos para dúo de pianos. Es más, es la primera de sus composiciones para piano a cuatro manos. El "Conde Waldstein", al que hace referencia el título, es el mismo conde Ferdinand von Waldstein, con el que se apoda la Sonata para Piano Nº 21 en Do mayor ((http•••) Parece que hay cierto desacuerdo, en las fuentes de referencia, en relación con el momento de composición de las "Variaciones Waldstein"; algunos datan el conjunto remontándose a 1787. Pero parece que fueron compuestas en 1792, alrededor de la época en la que Beethoven acababa de instalarse en Viena. El tema "Waldstein" es bastante simple y algo blando en su porte aristocrático. Las primeras dos variaciones de Beethoven aportan color y brillo; y las dos últimas revelan un buen sentido de contraste y atmósfera. Ninguna de las ocho variaciones es menos interesante, aunque, en general, el conjunto completo no llega al nivel de las mejores obras del compositor en el género. Esta composición fue publicada por primera vez en Bonn, en 1794. Una interpretación típica dura unos nueve o diez minutos. ~ Robert Cummings, Rovi Read more: (http•••) Título: 8 Variaciones para piano a 4 manos sobre un tema de Ferdinand Waldstein, WoO 67. Compositor: Ludwig van Beethoven +••.••(...)). Tonalidad: Do mayor. Anotación de tempo (Tema): "Andante con moto". Fecha de composición: 1792. 1ª edición: Nikolaus Simrock (Bonn), 1794. Dedicadas al conde Ferdinand Waldstein +••.••(...)) Localización de cada uno de los movimientos (tema y variaciones) y cambios de tempo: Thema. Andante con moto.: (00:18) Var. I: (00:52) Var. II: (01:22) Var. III: (01:55) Var. IV: (02:32) Var.V: (03:11) Var. VI: (03:46) Var. VII: (04:23) Adagio: (04:53) Tempo I.: (05:12) Var. VIII. Un poco Adagio.: (05:22) Allegro.: (07:15) Adagio.: (07:37) Allegro.: (08:20) Adagio.: (08:28) Allegretto.: (09:01) Presto.: (09:16) Intérpretes: Jörg Demus, piano Norman Shetler, piano
Christopher Hyde Smith Cummings Wolfgang Amadeus Mozart 2019
Provided to YouTube by NAXOS of America Flute Quartet No. 1 in D Major, K. 285: I. Allegro · Christopher Hyde-Smith Mozart: Flute Quartets ℗ 2019 Claudio Records Released on: 2019-05-03 Artist: Christopher Hyde-Smith Ensemble: Cummings String Trio Composer: Wolfgang Amadeus Mozart Auto-generated by YouTube.
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