Carlo Calvi Video
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2024-05-11
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Georg Philipp Telemann Arcangelo Corelli Antonio Vivaldi Pietro Antonio Locatelli Handel Johann Sebastian Bach Calvi Antonini Robert Veyron Lacroix Lacroix 1714
4: Georg Philipp Telemann: Concerto for Alto Recorder and Bassoon in D Largo / Allegro / Grave / Allegro (BMC 18) The Baroque Concerto Origins and Development. Corelli, Vivaldi, Locatelli, Telemann, Handel, and JS Bach From www.BaroqueMusic.org (Free Downloads) (http•••) 1: Arcangelo Corelli: Concerto Grosso in c, Op 6/3 Largo / Allegro / Grave / Vivace / Allegro 2: Antonio Vivaldi: Concerto for Bassoon in a minor, RV 498 Allegro / Larghetto / Allegro 3: Pietro Antonio Locatelli: Concerto Grosso in f, Op 1/8 - Christmas Concerto Largo-Grave / Vivace / Grave / Largo / Andante / Pastorale 4: Georg Philipp Telemann: Concerto for Alto Recorder and Bassoon in D Largo / Allegro / Grave / Allegro 5: George Friderik Handel: Concerto Grosso in a, Op 6/4 Larghetto / Allegro / Largo e piano / Allegro The Modena Chamber Orchestra, Leader/conductor Francesco Calvi Wilhelmina Müller, alto recorder, Arturo Antonini, bassoon. 6: Johann Sebastian Bach: Four-Harpsichord Concerto, BWV 1065 Allegro / Largo / Allegro Isolde Ahlgrimm, Robert Veyron-Lacroix, Hans Pischner, and Zuzana Ruzicková, harpsichords Staatskapelle Dresden, Kurt Redel It has often been said, and not without reason, that baroque music began in Italy. The Baroque Period saw the resurgence of Rome as the Catholic Center of the world, after a long period of decline. Money poured into the City Coffers, artists and sculptors worked to make the Eternal City the living, open-air museum it is today. In music too we can look to Italy for the origins both of the sonata and the concerto – and more precisely, we can single out Arcangelo Corelli. With his famous Concerti Grossi, 1714, Corelli established the concerto form as a composition for multiple players, in which a smaller group of instrumentalists (concertino), is set against the larger orchestra (ripieno), the two taking the theme and its development in alternation. This idea is the continuation of an older Italian church tradition, that of 'antiphonal' singing of verse and response 'echoing' one another. From the 'concerto grosso' with its alternating groups of ripieni and concertanti, the concerto for soloist and orchestra developed very naturally. The concertanti or smaller group would naturally be formed of the orchestra's better players, the first violinist being the 'leader'. It was quite a natural step for the lead violinist to take a solo part, with the orchestra then accompanying and/or alternating. This development had its precedent in the solo sonata for a single instrument and continuo of keyboard and cello. Here again Corelli took the lead, literally, being himself a gifted violinist. As the preeminent violin virtuoso of the day, he taught many leading violinist-composers of the 18th century. Other Italian composers took up the violin-concerto model; based in Venice, Antonio Vivaldi wrote some 300 concertos for violin and orchestra, he again being a virtuoso violinist himself. But Vivaldi did not confine himself to the violin in his compositions; writing for a student orchestra of highly-gifted young musicians with a wide variety of talents, for them he composed numerous concertos featuring a wealth of different instruments as soloists, among which were the bassoon, mandolin, guitar, cello and many other instruments. This wealth of musical development did not go unnoticed in the rest of Europe. Music-making was highly prized by many of the princely and kingly courts, and leading musicians would often travel to study and bring back the latest styles and compositions. During the first half of the 1700s, German music adopted the Italian forms of the concerto and sonata, and with them, much of the Italian baroque "vocabulary" together with the latest Italian compositions. Many eminent composers of the baroque period, notably Handel for example, sojourned in Rome, and Corelli's influence was to spread itself throughout Europe. Pietro Locatelli was a pupil of Corelli who was to take Italian musical traditions northwards to Germany, and to Amsterdam where he eventually set himself up as a music publisher. Full info: (http•••)
The Bankers of God: The Calvi Affair - Clip en Français by FIlm&Clip Réalisateur: Giuseppe Ferrara Scénario: Armenia Balducci, Giuseppe Ferrara Acteurs: Omero Antonutti, Pamela Villoresi, Giancarlo Giannini (2002) Il più bel canale di cinema gratuito e legale di Youtube! The best FREE & LEGAL Youtube Channel: movies, clips, docs, short movies from all around the world - italian, english, spanish, french, deutsch, and other subtitles available! Iscriviti a Film&Clips: (http•••) Facebook: (http•••) Twitter: (http•••) App: (http•••) Tutte le playlist: (http•••) Film&Clips Movie Clips Collection: (http•••) Film&Clips Original Trailers: (http•••) Film&Clips English: (http•••) Film&Clips Film in Italiano Completi: (http•••) Film&Clips Interviste & Backstage: (http•••) Film&Clips - Français: (http•••) Film&Clips - Español: (http•••) Film&Clips - Deutsch: (http•••) Film&Clips - Japanese: (http•••) Film&Clips Fashion: (http•••) Download our App here: (http•••) Film&Clips offers a wide selection of FREE & LEGAL movie content on Youtube: full movies, clips, documentaries, short movies, trailers from all around the world in different languages and subtitles. Don't miss our vast array of genres: horror, adventure, drama, comedy, cult and b-movies, spaghetti western, Italian cult movies all free in streaming on our channel. #Clip#MovieClipsCollection The Bankers of God: The Calvi Affair - Clip en Français by FIlm&Clip
Johannes Brahms Hesse Loup Manen Cottet Géry Moutier Giulini Jean Marc Luisada Noël Lee Vignola Liszt Naoumoff Holm Marie Jaëll Calvi Pogorelich Conservatoire Royal Bruxelles Schola Cantorum 2006 2008 2012 2015 2018
Axel Lenarduzzi plays Johannes Brahms Sonate pour piano No. 1 in C Major, Op. 1: III. Scherzo piano Yamaha cfx The relationship between the piano and Axel Lenarduzzi started as a pinnacle that brought on many more: the end of his education, in the mythic city of Rome, was crowned by a prestigious diploma - Diplôme supérieur de perfectionnement à l’unanimité - issued by the no less prestigious Académie nationale supérieure Santa Cecilia, and earned under the teachings of Sergio Perticaroli. The encounter with the maestro, which will occur during the festival de Salzburg, will bring about the end of his apprenticeship, open up his artistic vision of the piano, and of life as a concert pianist. To Axel, practicing the piano, life as a musician, and the role of the musician as an interpret are opportunities to open up spiritually, to discover not only the self, but humanity as a whole, because playing for the public implies having a humanitarian side, because interpreting, seeking the truth, and the artist within, implies self-discovery and working on the self. Aside from his passion for the piano, he has also fed his love of literature and philosophy, via the works of such masters as Nikos Kazantzakis, Herman Hesse, Fédor Dostoïevski, and great thinker Jean-Yves Le loup, just to name a few… His long apprenticeship in music, which ended in Rome, actually started at the Cconservatoire d’Asnières, under the direction of Christian Manen, where he brillliantly mastered every level. Next came the Conservatoire National de Région de Boulogne-Billancourt with Geneviève Ibanez, followed by the Conservatoires Nationaux de Région de Montpellier with Patrick Zygmanovski, and the Conservatoire National de Paris with Jean-Marie Cottet. During those years, he also attended several Masterclasses with Pascal Devoyon, and worked with pianist Géry Moutier at the Académie Internationale du Moulin d’Andé. He was then introduced to Bruno Rigutto with whom he perfected his skills for a few years, before he would meet Jean-Claude Vanden Eynden, at the Festival de Novarra, whose class he joined at the Conservatoire Royal de Bruxelles, and earned the first prize in piano, music history, harmony, chamber music and analysis. He also started studying with Sergio Perticaroli at la Schola Cantorum in Paris, before returning to his Italian roots in Rome. During his Italian journey, he has the opportunity to play and work in the Rodi Garganico Masters-class, to stay at the Medici Giulini villa, and to meet composer Davide Liani. His desire for exchange and for experiencing different styles of interpretation cause him to further perfect his skills with pianists Jean Marc Luisada and Elena Rozanova, and to play with violonist Svetlin Roussev. He will also collaborate with l'atelier lyrique de Normandie, directed by Philippe Hui, accompanying French and German opera singers. During that priod of time, he finds his mentoring by Noël Lee most beneficial. Intrigued by musical and physical movement, he gets deeply involved in Tai-chi and sport. The prize-winner of many International competitions, in Italy, France, Vignola Classica, Liszt, Naoumoff, Lyon's Club, he starts playing professionally on a regular basis: Festival Tempietto di Roma, Festival Notte Classice, and more. In 2006, he is invited in the USA, where he performs a triomphant series of concerts in Alabama andFlorida, a recital with pianist Robert Holm, and the recording of In concert and of Famous piano Duo. Back in France, his presence is requested from one festival to the next: Coream, with Svetlin Roussev, Gorges du Tarn , Les Week-end du Piano at Maisons-Laffitte, Parc de Bel Ebat in Avon, Musique en Fête in Alsace, where he recreated on stage the Conservatoire National de la grande sonate de Marie Jaëll, Classique et Jazz in Val-Thorens, the Festival du Château de Martigny. In 2008, he is asked to return to the US. This new tour takes him to Louisiana, Mississipi, and other Southern states. He plays in the New Orleans Trinity Concert series, gives a recital, performs a duet with Robert Holm, collaborates with several U.S. universities, namely South Alabama University and Birmingham University, and performs a live radio concert. He will be invited in several Usa tour after this, 2012, 2015, 2018... Festival invitations keep coming: Château de Nailly , Festival de l’abbaye de Vauluisant, Festival de Calvi, Hulencourt Art Project, Festival de Lagord, Le piano dans tous ses éclats, les musicales de l’Arbousière, Classique et Jazz in Val-Thorens, Festival de l’abbaye de Talloires, Paris Deco-off for the unique presentation « piano haute couture », Festival Les Musicales d’Epernay, and PagArt Festival, directed by Lovro Pogorelich.
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- cronologia: Compositori (Europa).
- Indici (per ordine alfabetico): C...