Thérèse Brenet Video
compositrice francese
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2024-05-19
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George Frideric Handel Nathalie Stutzmann Francesca Vanini Boschi Boschi Royer Desmarais Brenet Félix 1598 1660 1665 1680 1685 1728 1756 1759 1763 1776 1788 1792 1811 1813 1819 1829 1836 1852 1875 1880 1912 1926
Voi che udite il mio lamento Agrippina / Act 2, Scene 5 George Frideric Handel +••.••(...)) Nathalie Stutzmann Orfeo 55 Ottone: Voi che udite il mio lamento compatite il mio dolor. Perdo un trono, e pur lo sprezzo; ma quel ben che tanto apprezzo, ahi che perderlo è tormento che disanima il mio cor. You who hear my lament, have pity on my grief. I am losing a throne, yet I despise it; but the jewel I value so highly, alas, her loss so torments me that my heart is crushed. [English translation by Avril Bardoni] At the heart of the opera, midway through Act Two, Ottone reacts to being suddenly outcast from his lover Poppea and all his former allies in the powerful lament Voi che udite il mio lamento. The role was composed for the contralto Francesca Vanini-Boschi, who was married to the bass Giuseppe Boschi (who sang in all of Handel’s London Royal Academy operas during the 1720s). From the CD Handel: Heroes from the Shadows: (http•••) Art in the video [0:30] Lionel Royer (1852–1926) [1:00] Circle of Jean-Germain Drouais +••.••(...)) [1:12] Jean-Baptiste Frédéric Desmarais +••.••(...)) [1:35] Nicolas-Guy Brenet +••.••(...)) [2:12] Félix Boisselier +••.••(...)) [2:42] Gian Lorenzo Bernini (1598–1680) [3:08] Jean Germain Drouais +••.••(...)) [3:25] Anselm Feuerbach +••.••(...)) [3:42] Lawrence Alma-Tadema (1836–1912) [4:05] Arthur Georg von Ramberg (1819–1875) [4:28] The Spanish School, 19th.century [4:35] Antonio Zanchi (c. 1660-1665)
Thérèse Brenet Nicolas Horvath
Music by Thérèse Brenet : (http•••) Performed by Marine Perez, flute: Adrian Receanu, clarinet, David Galoustov, violin, Eric Zorgniotti, violoncello and Nicolas Horvath, piano Boustrophédon ou Tant de Strideurs étranges for flute, clarinet, violin, violoncello and piano The word Boustrophédon is a 16th century expression which refers to an archaic type of writing in which, after having written a line from left to right, one continues the next line from right to left and then alternates directions. This is the way the oldest known latin inscriptions are written, as well as in the traditional writing of the Touaregs The etymology comes from the Greek "bous" or ox and the verbal form "trophéin" or the verb "to turn". These two elements give the image that this writing is traced in the same way that the ox pulled the plow in the fields. In the sub-title, there is an evocation of Rimbaud's famous "Vowel" sonnet : Oh, sublime trumpet full of strange piercing sounds The author wanted to suggest both musically and technically the manner of this style of writing in boustrophedon. The work begins thus with a sonorous strange sonorous background which suggests this type of writing. This strange atmosphere is created by glissandi on the piano strings as well as on the strings of the violin and the violoncello. These alternating movements create strange piercing sounds against which the flute and clarinet alternately play brief sequences which create the outline of a melody. Then the atmosphere changes : the violin, the cello and the piano come together in a percussively violent outburst, which, together with micro intervals, creates a tragic, passionate feeling which may also be considered "strange piercing sounds." Several long aleatoric phrases are then presented like a sonorous halo which intensify to bring the listener to an intense Chorale-like phrase which serves as the central pillar of the work. This phrase is repeated several times, each time gaining in intensity to bring the work to its summit. At the conclusion, the theme is presented again with a great violence, this time without the boustropedon but perhaps with "strange piercing sounds." / Boustrophédon ou Tant de strideurs étranges pour flûte, clarinette, violon, violoncelle et piano Boustrophédon est le terme qui, depuis le XVIe siècle désigne une écriture archaïque dans laquelle, après avoir écrit une ligne de gauche Àdroite, on continuait en écrivant de droite Àgauche, en alternant. C'est le cas de l'écriture latine la plus anciennement connue, celui aussi de l'écriture traditionnelle des Touaregs. L'étymologie, du grec bous, le boeuf, et de la forme verbale trophéin, tourner, nous enseigne que cette écriture était tracée comme le sillon creusé par les boeufs au labour. Dans le sous-titre on trouvera, avec l'emploi d'un mot rare un souvenir du sonnet des voyelles de Rimbaud : Ô, sublime clairon plein de strideurs étranges L'auteur a voulu suggérer musicalement et techniquement cette écriture en boustrophédon. L'œuvre commence donc sur un fond sonore un peu étrange, qui suggère le tracé de cette écriture. Cette curieuse ambiance est suscitée par différents glissés sur les cordes mê.me du piano et divers glissandi sur le violon et le violoncelle, qui, selon leurs possibilités créent dans ce mouvement de va-et-vient des strideurs étranges et un climat très particulier sur lequel la flû.te et la clarinette, en alternance se font entendre en de très brèves séquences, qui constituent l'ébauche d'une mélodie. Puis l'ambiance change : le violon, le violoncelle et le piano s'unissent pour nous présenter une percussion violente, voir stridente, tandis que la clarinette s'exprime dans sa tessiture la plus grave et la plus sombre, faisant entendre parfois des micro-intervalles, avec une passion tragique. .peut-ê.tre encore ici des strideurs étranges. Viennent alors, comme un halo sonore, de grandes plages aléatoires contrôlées qui montent en puissance et nous amènent Àune phrase très intense, très expressive, comme une sorte de choral, qui sera le pilier central de l'œuvre. Cette phrase se présentent Àplusieurs reprises, prenant Àchaque apparition une plus grande ampleur jusqu'Ànous amener au sommet de l'œuvre, au paroxysme sonore, puis Àla conclusion, dans une grande violence cette fois sans boustrophédon, mais peut-ê.tre encore par des strideurs étranges.
Thérèse Brenet Nicolas Horvath
This short piece was commissioned by Musik Fabrik for the 100th Birthday of Claude Lévi-Strauss. The work is inspired by a short poem: " Happy is the man who knows not rest He is the chevalier of passage of time The garment of life is made to his measure Because he is the newest born of Creation and before him opens Eternity." Mohamed IQBAL David Galoustov - Violin Nicolas Horvath - Piano
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- cronologia: Compositori (Europa).
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