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2024-05-13
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English Baroque Soloists Modern Symphony Orchestra Monteverdi Choir Beethoven Berlioz Monteverdi Sir John Eliot Gardiner Parton
In this video, the trumpet section of both the English Baroque Soloists and Orchestre Révoltuionnaire et Romantique explain the history of the natural trumpet and the valved cornet. With demonstrations of Beethoven and Berlioz, they also highlight how these instruments differ from their modern symphony orchestra counterparts. * * * * * The three Monteverdi ensembles – the Monteverdi Choir, English Baroque Soloists and Orchestre Révolutionnaire et Romantique – are a leading force on the international music scene. World-class musicians and singers from many nationalities come together to share in the distinctive vision of our Artistic Director, Sir John Eliot Gardiner, in ground-breaking projects that span eight centuries of musical masterpieces. ‘They represent British excellence on their tours abroad, and it is a great privilege to be Parton of such wonderful ambassadors for our country.’ HRH The Prince of Wales, Royal Patron, Monteverdi Choir & Orchestras. The Monteverdi Choir & Orchestras receive no government subsidy and rely 100% on the generosity of Individual, Corporate and Trust & Foundation donors to survive. Your support enables us to continue to provide unique opportunities to hear the work of Sir John Eliot Gardiner and his ensembles. If you would like to donate towards the Monteverdi Choir & Orchestras, visit the support section of our website: (http•••) Visit our website for more information: (http•••) Follow us on social media for regular updates: Like: (http•••) Follow: (http•••) Discover: (http•••)
Franz Liszt Bülow Sayn Wittgenstein Wittgenstein Weise 1811 1860 1873 1874 1876 1881 1886 1940
Liszt composed the set of piano pieces "Weihnachtsbaum" (Christmas Tree) for piano solo from 1873 to 1876, and dedicated it to his granddaughter Daniela von Bülow +••.••(...)). There were further revisions and a piano duet arrangement by Liszt between from 1874 to 1881. The work sits somewhat outside Liszt's standard oevre in its simplicity, and stands just on the cusp looking out at the strange experiments of Liszt's late style. Each movement is more of a fragment than a finished whole, exploring different aspects of Christmas from a highly original set of perspectives. The suite falls into three broad sections: First is a set of 4 pieces based on Christmas Song, perhaps the "religious" side of Christmas. Second is a set of five more secular character pieces associated with Christmas, concluding with the best-known work from the suite "Evening Bells", which is forward-looking in its impressionistic atmosphere. And last are three dance-based pieces, highly enigmatically linked to Christmas: "Ehemals" (In Former Times), "Hungarian" and "Polish". The first is a nostaglic waltz, the second an abrasive and abrupt march, entitled "Hungarian", the third a emotionally ambiguous mazurka entitled "Polish": perhaps these last two are linked to (Hungarian) Liszt's romantic relationship with the (Polish) princess Sayn-Wittgenstein. This is an arrangement of the full suite for modern symphony orchestra. I am keen to get this performed. It strikes me that it might work well as a ballet as well as a concert work. If you are interested in performing this, please get in touch. I. Psallite: Altes Weihnachtslied (Psallite: Old Christmas song) II. O heilige Nacht! Weihnachtslied nach einer alten Weise (O holy night! Christmas song on an old theme) III. Die Hirten an der Krippe: In dulci jubilo (The shepherds at the manger: In dulci jubilo) IV. Adeste Fideles: Gleichsam als Marsch der heiligen drei Könige (Adeste Fideles: as if it be the march of the Three Wise Men) V. Scherzoso: Man zündet die Kerzen des Baumes an (Scherzoso: Lighting the Candles on the Tree) VI. Carillon VII. Schlummerlied (Slumber Song) VIII. Altes provenzalisches Weihnachtslied (Old Provençal Christmas Song) IX. Abendglocken (Evening Bells) X. Ehemals (In former times) XI. Ungarisch (Hungarian) XII. Polnisch (Polish) 2Fl, 2Ob, 2Cl, 2Bsn, 4Hn, 3Tpt, 3Tbn, Tba, Perc, Hrp, Str Score: (http•••)
Cello The,cello,/ˈtʃɛloʊ/,CHEL-oh;,plural,cellos,or,celli,or,violoncello,/ˌvaɪələnˈtʃɛloʊ/,VY-ə-lən-CHEL-oh;1,Italian,pronunciation:vjolonˈtʃɛllo,is,a,bowed,string,instrument,with,four,strings,tuned,in,perfect,fifths,The,strings,from,low,to,high,are,generally,tuned,to,C2,,G2,,D3,and,A3,,an,octave,lower,than,the,viola,It,is,a,member,of,the,violin,family,of,musical,instruments,,which,also,includes,the,violin,and,viola The,cello,is,used,as,a,solo,musical,instrument,,as,well,as,in,chamber,music,ensembles,,string,orchestras,,as,a,member,of,the,string,section,of,symphony,orchestras,,and,some,rock,bands,It,is,the,second-largest,bowed,string,instrument,in,the,modern,symphony,orchestra,,the,double,bass,being,the,largest Cellos,were,derived,from,other,mid-,to,large-sized,bowed,instruments,in,the,16th,century,,such,as,the,viola,da,gamba,,and,the,generally,smaller,and,squarer,viola,da,braccio,,and,such,instruments,made,by,members,of,the,Amati,family,of,luthiers Cello,parts,are,generally,written,in,the,bass,clef,,but,both,tenor,and,treble,clefs,are,used,for,higher-range,parts A,person,who,placello,,cello,music,,cellophane,,cellophane,bags,,cello,sheet,music,,cello,jeans,Cello ,
Franz Liszt Martin Haselböck Franz Doppler 2013
Hungarian Rhapsody No. 2, S.244/2 Liszt: Hungarian Rhapsodies (2013) Martin Haselböck / Wiener Akademie Orchester Franz Liszt's 19 Hungarian Rhapsodies were originally composed for piano, though there are six orchestral transcriptions that correspond to Nos. 14, 2, 6, 12, 5, and 9 of the keyboard versions. They were arranged for orchestra by Franz Doppler, though Liszt participated in their scoring, and they have become enormously popular, especially the Hungarian Rhapsody No. 2, which has been used frequently in film and television. One problem with the orchestral versions is the loss of virtuosic sparkle and the giddy showmanship that made the piano originals so charming and effective, and while the orchestration is functional and competent, Liszt was not as brilliant in writing for the orchestra as he was for his own instrument. Even so, these performances by Liszt authority Martin Haselböck and the Wiener Akademie Orchester have considerable verve and appeal, and where these pieces lack technical flashiness, their infectious melodies carry them all the way. Hasselböck has been active in re-creating the sound of the orchestras Liszt knew in Weimar, and to the extent that this ensemble is of the size and instrumentation of the period, it achieves similar results to recordings on NCA of Liszt's symphonic poems. The sound is smaller and more intimate than that of a modern symphony orchestra, and the textures are leaner, but Hasselböck and his players are convincing in their re-creation of a 19th century Hungarian orchestra. CPO's reproduction is crisp and dry, so the instruments have a slightly raw edge.
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- Orchestre sinfoniche (Europa).
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