William Shore Vidéos
compositeur
- Angleterre
Dernière mise à jour
2024-05-08
Actualiser
101 Strings - The Most Beautiful Romantic Melodies dsk 1 [Ronco – RTL 2094] 01 101 Strings - Edelweiss (02:44) 02 101 Strings - The Sound Of Silence (03:23) 03 101 Strings - True Love (02:30) 04 101 Strings - Stranger In The Shore (02:57) 05 101 Strings - The Onedin Line (02:55) 06 101 Strings - Season In The Sun (03:47) 07 101 Strings - Paradise (02:48) 08 101 Strings - Bali Hai (02:54) 09 101 Strings - Joy To The World (02:15) 10 101 Strings - Up, Up & Away (02:10) 11 101 Strings - Morning (04:12) 12 101 Strings - Friendly Persuasion (02:22) 13 101 Strings - Sleepy Lagoon (02:39) 14 101 Strings - Morning Dreams (02:08) 15 101 Strings - Never On A Sunday (03:03) 16 101 Strings - Goodmorning Starshine (02:23) 17 101 Strings - I'd Like To Teach The World To Sing (02:46) 18 101 Strings - Theme From The Hands Of Mine (03:24) 19 101 Strings - Look To The Rainbow (02:45) 20 101 Strings - Oh Happy Day (03:30) •••@••• Todas as faixas foram executadas no Winamp V5.8, utilizando plugins SqrSoft Advanced Crossfading V1.75, Sound Solution V1.1 e gravadas no Audacity v3.1.3 All tracks were run on Winamp V5.8, using plugins SqrSoft Advanced Crossfading V1.75, Sound Solution V1.1 and recorded in Audacity v3.1.3 "Isenção de responsabilidade de direitos autorais sob a seção 107 dos direitos autorais Lei de 1976, a concessão é feita para "uso justo" para fins como crítica, comentário, reportagem, ensino, bolsa de estudos e pesquisa. O uso justo é um uso permitido pelo estatuto de direitos autorais que poderia ser infrator. Sem fins lucrativos, educacional ou o uso pessoal inclina a balança a favor do uso justo. " "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."
Percy Grainger Shore Shepherd Handel Mock Richard Hickox Bbc Philharmonic Orchestra 1919
Selection of orchestral works by Percy Grainger. 01. Youthful Suite - Northern March 00:00 02. Youthful Suite - Rustic March 06:40 03. Youthful Suite - Norse March 10:18 04. Youthful Suite - Eastern Intermezzo 19:19 05. Youthful Suite - English Waltz 21:13 06. Molly On The Shore 25:45 07. Irish Tune From Country Derry 29:58 08. Shepherd's Hey! 33:42 09. Country Gardens 35:43 10. Early One Morning 38:05 11. Handel In The Strand 41:40 12. Mock Morris 45:42 13. Dreamery 49:05 14. The Warriors 55:46 Richard Hickox BBC Philharmonic Orchestra
Tchaikovsky Shore Modest Tchaikovsky Aleksandra Krutikova 1825 1844 1851 1872 1884 1885 1893 1901 1919 1940
Tchaikovsky: Six Romances, Op. 57 (1884) VI. Only You Alone (Лишь ты один) Andante non troppo (F major) Tchaikovsky's Six Romances (Шесть романсов), Op. 57 (TH 105 ; ČW 275-280), were mostly written between September and November 1884, except for No. 1 which is from an earlier date. Instrumentation: Scored for high voice (Nos. 1, 5), medium voice (Nos. 3, 4), baritone (No. 2) or low voice (No. 6), with piano accompaniment. Tchaikovsky made minor changes to the texts of the poems used in On the Golden Cornfields (No. 2), Do Not Ask! (No. 3), Sleep! (No. 4), and more significant changes in Only You Alone (No. 6). Movements: VI. Only You Alone (Лишь ты один) Andante non troppo (F major) Only you believed in my suffering, One rebelled against the false court of man And supported my exhausted spirit In those days, how the light in me fought the darkness. Only you alone extended your hand to me boldly, When to you, full of despair, I came with a bleeding heart Without pitiful crowd offended. Only you alone in my life not a moment I did not poison ... One spared me, One shore from storms with tender participation... And you never loved me! No, you never, never loved me... Aleksey Pleshcheyev (1825–1893), from an untitled poem (1884), after the German poem Nur Du allein (1872) by Ada Christen (1844–1901). Composition: The earliest of the romances to be written was Tell Me, What in the Shade of the Branches? (No. 1). In a letter to Pyotr Jurgenson of 1/13 December 1884 (see below). the composer expressed his surprise at this discovery of this romance, which it seems he had forgotten about. The exact time and place of its composition are uncertain. On the Golden Cornfields (No. 2) and Do Not Ask (No. 3) were composed at Pleshcheyevo in late September 1884. Before the rough draft of No. 2 in the composer's notebook is the date "Pleshcheyevo, 26 Sept 1884". Do Not Ask (No. 3) was composed next, and its text was probably chosen by Tchaikovsky after he read Goethe's novel The Apprenticeship of Wilhelm Meister("God, how marvellous this is..."), which he found in Nadezhda von Meck's library at Pleshcheyevo [4]. The remaining three romances were written in Paris between 19 November/1 December (the date of his arrival) and 1/13 December 1884, when Tchaikovsky wrote to Pyotr Jurgenson: "I was very surprised to learn that Komissarzhevsky has my romance. Incidentally, I already have another five. Congratulations to you on my new opus". Writing to Modest Tchaikovsky from Paris on 3/15 December 1884, the composer reported: "I cannot say that I am bored from idleness. I managed here to devise the main revisions to Vakula, and to write three new romances, and one church number". Publication: The romances were published by Jurgenson in April 1885, and in 1940 they were included in volume 45 of Tchaikovsky's Complete Collected Works, edited by Ivan Shishov and Nikolay Shemanin. Autographs: Tchaikovsky's manuscript scores of Nos. 2 to 6 are now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 143). The autograph of No. 1 is lost. Dedication: Each romance is dedicated to a different person: VI. Aleksandra Krutikova (1851–1919), mezzo-soprano who premiered the role of Lyubov in Mazepa.
Lionel Tertis Pugnani Alexander Mackenzie Oskar Nedbal Gerald Walenn Arnold Bax Frank Bridge Gustav Holst Benjamin Dale York Bowen Ralph Vaughan Williams William Walton Paul Hindemith Shore Montagnana Albert Sammons Edward Elgar Bohemian Quartet Griller Quartet Proms 1717 1876 1900 1906 1920 1928 1930 1937 1949 1950 1975
Lionel Tertis plays his own arrangement of Pugnani's 'Prelude and Allegro,' recorded on 8 December 1930 with piano by Ethel Hobday. From Wikipedia: Lionel Tertis, CBE (29 December 1876 – 22 February 1975) was an English violist. He was one of the first viola players to achieve international fame and a noted teacher. Tertis was born in West Hartlepool, the son of Polish-Jewish immigrants. He first studied violin in Leipzig, Germany and at the Royal Academy of Music (RAM) in London. There he was encouraged by the principal, Alexander Mackenzie, to take up the viola instead. Under the additional influence of Oskar Nedbal, he did so and rapidly became one of the best known violists of his time, touring Europe and the US as a soloist. As Professor of Viola at the RAM (from 1900), he encouraged his colleagues and students to compose for the instrument, thereby greatly expanding its repertoire. In 1906, Tertis was temporarily in the famous Bohemian Quartet to replace the violist/composer Oskar Nedbal and later he took the viola position in the Gerald Walenn Quartet. Composers such as Arnold Bax, Frank Bridge, Gustav Holst, Benjamin Dale, York Bowen, Ralph Vaughan Williams, and William Walton wrote pieces for him. The Walton piece was his Viola Concerto; however, Tertis did not give the world premiere as he found it difficult to comprehend at the time; that honour went to Paul Hindemith. His pupil Bernard Shore took on the second performance at the Proms in August 1930. Tertis first performed the work a month later at the International Society for Contemporary Music festival in Liège. Over the next three years he gave five more performances of the concerto. He owned a 1717 Montagnana from 1920 to 1937 which he found during one of his concert tours to Paris in 1920, and took a chance in acquiring. According to his memoirs, it was 'shown to me in an unplayable condition, without bridge, strings or fingerboard.... No case was available – it was such a large instrument 17 1/8 inches – so my wife came to the rescue by wrapping it in her waterproof coat, and that is how it was taken across the English Channel.' Tertis preferred a large viola to get an especially rich tone from his instrument. Knowing that some would find a 17-1/8-inch instrument too large he created his own Tertis model, which provides many of the tonal advantages of the larger instrument in a manageable 16-3/4-inch size. Tertis sold the 1717 Montegnana to his pupil Bernard Shore in 1937, who in turn passed it on to his pupil Roger Chase. Along with William Murdoch (piano), Albert Sammons, and Lauri Kennedy, Tertis formed the Chamber Music Players. He also encouraged and coached Sidney Griller as he worked to found the Griller Quartet in 1928, and influenced the Griller's enthusiasm for the first Viennese School. In 1937, while at the height of his powers, he announced his retirement from the concert platform to concentrate on teaching. He appeared as soloist only one more time, at a special concert in 1949 to an invited audience at the RAM to help raise money for his fund to encourage the composition of music for the viola. He was appointed a Commander of the Order of the British Empire (CBE) in the 1950 New Year's Honours. Tertis composed several original works and also arranged many pieces not originally for the viola, such as Edward Elgar's Cello Concerto. He was the author of a number of publications about string playing, the viola in particular, and his own life. They include Cinderella No More and My Viola and I. Lionel Tertis died on 22 February 1975 in Wimbledon, London. He was 98 years old. I transferred this side from Australian Columbia DOX 267.
ou
- chronologie: Compositeurs (Europe).
- Index (par ordre alphabétique): S...