Émile Prudent Vidéos
pianiste et compositeur français
- piano
- France
- compositeur ou compositrice, professeur ou professeure de musique, pianiste
Dernière mise à jour
2024-05-02
Actualiser
A little lockdown laughter G&S style from bass Alastair Miles and family. Based on the song "I am the Very Model of a Modern Major-General" from Gilbert and Sullivan's "The Pirates of Penzance". My wife, Alison (violin), received several verses which had been circulating round her music colleagues. No one knew who the author was but Alison decided to write some more lyrics and arrange the music for our isolating forces - ourselves and our son, Greg, and daughter, Felicity (heard but not seen - her choice!). About a fortnight after we posted this video, a comment appeared on Alison's Facebook informing us of the original author, Eliza Rubenstein. We loved her lyrics and were inspired to put this all together. Thank you, Eliza! Here is a link to her original: (http•••) Lyrics: I am the very model of effective social distancing; I listen to the experts on the topic of “resistancing”. I know that gym and yoga class aren’t nearly as imperative As doing what I can to change the global viral narrative. I’m very well acquainted too with living solitarily And confident that everyone can do it temporarily: Go take a walk or ride a bike, or dip into an unread book! No pubs, no bars, no restaurants! My God! I’ll have to learn to cook! There’s lots of stuff to watch online while keeping safe from sinus ills. In this case, it’s far better to enjoy your Netflix minus chills! Compose a song for your loved one and pluck it on your mandolin, And when you need to stop for lunch, avoid the bat and pangolin! Until there is some progress on the problem “vaccinatory”, We’ll need to wash and scrub up in a manner “sanitatory”. While hand gel on the internet is selling at a premium, We’ll have to find another way to clean our epithelium. Please have a care and don’t strip bare the supermarket vegetables; We need to share the Pop Tarts and the various comestibles! You know full well that hoarding toilet tissue is detestable, And should you hug a granny, you’re not socially acceptable. Pandemics are alarming but they are not insurmountable If everybody pitches in to hold themselves accountable. In short, please do your part to practise prudent “co-existancing”, And be the very model of effective social distancing!
Béla Bartók Rabin Hamel Buckley Bartók String Quartet 1881 1909 1928 1939 1945
Béla Bartók +••.••(...)) String Quartet No. 4 in C Major I. Allegro II. Prestissimo, con sordino III. Non troppo lento IV. Allegretto pizzicato V. Allegro molto Bartók composed six string quartets between 1909 and 1939. While he was an extremely introverted person, his work was gaining fame throughout the world in the late 1920s. He had great passion for folk music, and incorporated many folk aspects in his own compositions throughout his life. He completed his fourth string quartet in 1928, and it is widely considered one of his greatest achievements in chamber music. This five-movement work is prudent, straightforward, and almost mathematical in design. The form is structurally symmetrical, beginning with a theme that returns again in the final movement, the second movement relating to the fourth, and a standalone third movement that sits at the peak of this symmetrical curve. The outer movements are striking and energetic, incorporating many recognizably folk aspects. There are moments of obscurity in the first movement, an unsettling sense that we have lost our way, only to return to a sense of unity soon thereafter. The fifth movement is robust, powerful, and relentlessly emphatic. The second and fourth movements are almost weightless. The second movement is quick and quiet, and one might find themselves leaning in closer, and the pizzicato fourth movement is rhythmically inviting and playful. The center movement is ethereal and solitary, the upper voices entering one-by-one to create a vast universe for the solo cello to speak out to. The first violin enters nervously, gaining energy that gives way to an almost electric second violin solo, where the viola joins erratically before falling back into stillness. The movement ends much like it begins, with each individual voice’s exit, until silence. Performance by the Rabin Quartet in Collins Hall at the Hamel Music Center. Euimin Shin, violin Sahada Buckley, violin Kayla Patrick, viola Ben Therrell, cello
Pyotr Il Yich Tchaikovsky Theodore Kuchar William Shakespeare Nikolai Rubinstein Rubinstein Balakirev Liszt Beethoven National Symphony Orchestra National Symphony Orchestra Ukraine 1422 1732 1869 1880
Pyotr Il'yich Tchaikovsky: Romeo and Juliet, Overture-Fantasia (Final version), TH 42, ČW 39 (with Score) Composed: 1869, revised 1880 Conductor: Theodore Kuchar Orchestra: National Symphony Orchestra of Ukraine 00:05 Andante non tanto quasi Moderato 05:45 Allegro giusto 07:51 ("Love theme") 11:03 (Theme of the warring Capulets and Montagues) 14:22 ("Love theme") 17:32 Moderato assai Romeo and Juliet, TH 42, ČW 39, is an orchestral work composed by Pyotr Ilyich Tchaikovsky. It is styled an Overture-Fantasy, and is based on Shakespeare's play of the same name. In 1869 Tchaikovsky was a 28-year-old professor at the Moscow Conservatory. Having written his first symphony and an opera, he next composed a symphonic poem entitled Fatum. Initially pleased with the piece when Nikolai Rubinstein conducted it in Moscow, Tchaikovsky dedicated it to Balakirev and sent it to him to conduct in St. Petersburg. Fatum received only a lukewarm reception. Balakirev wrote a detailed letter to Tchaikovsky explaining the defects, but also giving some encouragement: Your Fatum has been performed [in St. Petersburg] reasonably well ... There wasn't much applause, probably because of the appalling cacophony at the end of the piece, which I don't like at all. It is not properly gestated, and seems to have been written in a very slapdash manner. The seams show, as does all your clumsy stitching. Above all, the form itself just does not work. The whole thing is completely uncoordinated.... I am writing to you with complete frankness, being fully convinced that you won't go back on your intention of dedicating Fatum to me. Your dedication is precious to me as a sign of your sympathy towards me—and I feel a great weakness for you. M. Balakirev—who sincerely loves you. Tchaikovsky was too self-critical not to see the truth behind Balakirev's comments. He accepted Balakirev's criticism, and the two continued to correspond. (Tchaikovsky later destroyed the score of Fatum. The score was reconstructed posthumously from the orchestral parts.) Balakirev remained suspicious of anyone with a formal conservatory training but clearly recognized Tchaikovsky's great talents. Tchaikovsky liked and admired Balakirev. However, as he told his brother Anatoly, "I never feel quite at home with him. I particularly don't like the narrowness of his musical views and the sharpness of his tone." Balakirev suggested Tchaikovsky write a piece based on William Shakespeare's Romeo and Juliet. Tchaikovsky was having difficulties writing an opera entitled Undine, which he would eventually destroy. Though he complained, "I'm completely burned out," Balakirev persisted, as was his manner. Balakirev wrote suggestions about the structure of Romeo and Juliet, giving details of the type of music required in each section, and even opinions on which keys to use. Balakirev had suggested his own overture King Lear as a model for Romeo—a prudent move, since he had seen Tchaikovsky's weakness in writing in an unstructured musical form in Fatum. King Lear is not a symphonic poem in the manner of Liszt. It is a tragic overture in sonata form along the line of Beethoven's overtures, relying more on the dramatic potential of sonata form rather than on a literary program. Thus, Balakirev had transformed King Lear into an instrumental drama and now offered it as a model to Tchaikovsky. While basing Romeo and Juliet on King Lear was Balakirev's suggestion, reducing the plot of the former to one central conflict and then combining it with the binary structure of sonata form was Tchaikovsky's idea. However, executing that plot in the music we know today came only after two radical revisions.
Ivan Kozlovsky Rachmaninov Chesnokov
· Христос воскрес С. Рахманинов - Мережковский · Благослови,душе моя, Господа С. Рахманинов. Всенощное бдение · Блажен муж С. Рахманинов. Всенощное бдение · Свете тихий С. Рахманинов. Всенощное бдение · Ис полла эти деспота Обиход · Блажен разумеваяй А. Архангельский · Разбойника благоразумного П.Чесноков · В молитвах неусыпающую Напев Киево-печерской лавры · Ныне отпущаеши С. Рахманинов. Всенощное бдение · Christ is risen. Rachmaninov / Merezhkovsky. · Bless my soul, Lord. Rachmaninov. All-Night Vigil. · Blessed is the man. Rachmaninov. All-Night Vigil. · Gentle Light. Rachmaninov. All-Night Vigil. · Use these poll despot. Traditional. · Blessed 'razumevayay'. A.Arkhangel'skii. · Robber prudent. P. Chesnokov. · In the prayers 'neusypayuschuyu'. Melody of Kiev-Pechersk Lavra. · Lettest Thou now. Rachmaninov. All-Night Vigil.
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