Arthur Fear Video
cantante lirico
Commemorazioni 2024 (Morte: Arthur Fear)
- basso
- opera
- Regno Unito, Galles, Regno Unito di Gran Bretagna e Irlanda
Ultimo aggiornamento
2024-05-02
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John Dowland Antipov 1563 1626
Magdalina Gluschenko — alto / Vasiliy Antipov — lute Flow, my tears, fall from your springs! Exiled for ever, let me mourn; Where night's black bird her sad infamy sings, There let me live forlorn. Down vain lights, shine you no more! No nights are dark enough for those That in despair their last fortunes deplore. Light doth but shame disclose. Never may my woes be relieved, Since pity is fled; And tears and sighs and groans my weary days, my weary days Of all joys have deprived. From the highest spire of contentment My fortune is thrown; And fear and grief and pain for my deserts, for my deserts Are my hopes, since hope is gone. Hark! you shadows that in darkness dwell, Learn to contemn light Happy, happy they that in hell Feel not the world's despite. Теките, мои слезы, проливайтесь из своих источников! Изгнан я навек, так дайте ж мне предаться скорби; Там, откуда слышится печальное пение ночной черной птицы, Там позвольте мне жить в забвении. Угасните, напрасные огни, не светите больше Никакая ночь не может быть достаточно темной для тех, Кто в отчаянии оплакивает свою последнюю судьбу — Свет лишь их позор раскрывает. Никогда не облегчится горе мое, Даже когда сожаление рассеется; И слезы, и вздохи, и стоны опустошат мои дни, Лишив всех радостей. С высочайшего шпиля счастливой судьбы Сврей фортуной сброшен я; И страх, и горе, и боль — вот все надежды в моей пустыне, С тех пор, как надежда ушла. Слушайте, тени, что во тьме обитают, Учитесь презирать свет. Счастливы, счастливы те, кто в аду, Ибо не чувствуют, что мир им вопреки.
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.
Sergej Newski Helmut Lachenmann Roosevelt Arsenal Staatsoper Stuttgart Staatsoper 1941 1948 2016 2021
“I don't portray fear, but I deal with that discomfort, a certain confinement within a situation, that is perhaps overcome with the help of music,” Sergej Newski states in the new episode of 'Freedom from Fear.' But also outside of his often humanistic compositions, he thinks that, to deal with fear, now more than ever, international collaborations - not only between institutions in the field of music but also between people - have to be continued or even intensified. Sergej Newski studied composition in his hometown Moscow as well as in Dresden and Berlin. He was influenced by Friedrich Goldmann, Matthias Spahlinger and Helmut Lachenmann, among others. In his vocal music, which dominates his creative efforts, Newski works with a comprehensive arsenal of sounds composed of tones, noises and diverse forms between speech and song. He constantly finds new ways to give this material an order easily understood audibly, creating manifold transitions between the individual material levels. Sergej Newski‘s compositions are performed by leading interpreters of New Music and can regularly be heard at international festivals. * Sources & Further Information: Portrait of Sergej Newski: (http•••) Sergej Newski on the political Situation in Russia (2016): (http•••) "Die Einfachen" / "The simple ones": (http•••) Lev Ponomaryov's open letter: "(http•••) "Boris" at Staatsoper Stuttgart: (http•••) * About "Freedom from Fear:" In his 1941 State of the Union address, President Franklin D. Roosevelt proclaimed four goals for “people everywhere in the world“: Freedom of speech, freedom of worship, freedom from want, and freedom from fear. These Four Freedoms became part of the United Nations Declaration of Human Rights. Roosevelt equated "Freedom from Fear" mainly with overcoming war and violence. Today, the global consequences of the pandemic, climate change, and of rapid digital evolution and the resulting social change trigger fears all over the world. As social seismographs, the protagonists of the "Freedom from Fear" video series reflect on the significance of the right to live without fear in search of answers: How can literature, dance, music, philosophy, and politics conquer social fears? * 1941 proklamierte US-Präsident Franklin D. Roosevelt in seiner Rede zur Lage der Nation vier Ziele, die für alle Menschen weltweit gelten sollten: die Freiheit der Rede, die Freiheit der Religionsausübung, die Freiheit von Not und die Freiheit von Angst. Sie alle sind 1948 in die Allgemeine Erklärung der Menschenrechte der Vereinten Nationen aufgenommen geworden. Während Roosevelt mit „Freedom from Fear“ vor allem die Überwindung von Krieg und Gewalt im Blick hatte, sind es heute die globalen Folgen der Pandemie, der Erderwärmung, der rasanten digitalen Entwicklung und des damit einhergehenden gesellschaftlichen Wandels, die weltweit Ängste auslösen. Als Seismographen unserer Gesellschaft reflektieren die Protagonist:innen der Videoreihe „Freedom from Fear“ die Bedeutung des Rechtes auf eine Leben ohne Angst und suchen nach Antworten, wie Literatur, Kunst, Tanz, Musik, Philosophie und Politik soziale Angst überwinden kann.
Shepherd Schroeder Wand Montgomery Thomas Koschat Alfie Boe Renée Fleming Bryn Terfel Stokes Mormon Tabernacle Choir Musikverein Bozar Carnegie Hall Lincoln Center Disney Hall 1771 1845 1854 1914
The Tabernacle Choir at Temple Square Sing, The Lord Is My Shepherd - Psalm 23 Lyrics. Instrumental flute, harp, oboe music solos by Jeannine Goeckeritz, Tamara Oswald, and Bonnie Schroeder. Arranged and conducted by Mack Wilberg. April Annual General Conference. The Tabernacle Choir at Temple Square, formerly known as the Mormon Tabernacle Choir. (http•••) (http•••) (http•••) Song Lyrics to The Lord is My Shepherd Classic Epic Hymn 1. The Lord is my Shepherd; no want shall I know. I feed in green pastures; safe-folded I rest. He leadeth my soul where the still waters flow, Restores me when wand’ring, redeems when oppressed, Restores me when wand’ring, redeems when oppressed. 2. Thru the valley and shadow of death though I stray, Since thou art my Guardian, no evil I fear. Thy rod shall defend me, thy staff be my stay. No harm can befall with my Comforter near. No harm can befall with my Comforter near. 3. In the midst of affliction my table is spread. With blessings unmeasured my cup runneth o’er. With perfume and oil thou anointest my head. Oh, what shall I ask of thy providence more? Oh, what shall I ask of thy providence more? Text: James Montgomery, 1771–1854; based on Psalm 23 Music: Thomas Koschat, 1845–1914 Jeannine Goeckeritz and Tamara Oswald are principal flute and principal harp with the Orchestra at Temple Square where they perform, record and tour with the Tabernacle Choir at Temple Square (formerly the Mormon Tabernacle Choir). They have performed at venues such as Berlin Philharmonie, Musikverein, Bozar Centre For Fine Arts, Carnegie Hall, Lincoln Center, Ravinia, Disney Hall, Wolftrap, Chautauqua, Red Rocks, and the historic Salt Lake Tabernacle. Performances include the weekly international broadcast of Music and the Spoken Word and the annual PBS Christmas Specials of the Tabernacle Choir and Orchestra at Temple Square with featured headline artists such as Alfie Boe, Natalie Cole, Sissel, The King's Singers, Renée Fleming, Bryn Terfel, Frederica Von Stada, Brian Stokes Mitchell, Kristin Chenoweth and Sesame Street Muppets. To learn more about Jeannine Goeckeritz and her music go to: ► Website: (http•••) ► iTunes: (http•••) ► Amazon: (http•••) ► Facebook: (http•••) #comedreamwithme
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