Dora Bright Video
compositore, pianista
- pianoforte
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- Regno Unito, Regno Unito di Gran Bretagna e Irlanda
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2024-04-20
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Johann Sebastian Bach Claudio Abbado Ottavio Dantone Christian Ludwig Giuseppe Verdi Herbert Karajan Giuliano Carmignola Jacques Zoon Orchestra Mozart Vienna State Opera Berlin Philharmonic Teatro Municipale Valli Milan Scala 1050 1403 1685 1718 1721 1750 1933 1968 1984 1989 2002 2004 2007 2011 2014
Claudio Abbado and the Orchestra Mozart perform Johann Sebastian Bach’s Brandenburg Concerto No. 5 in D major, BWV 1050, at the Teatro Municipale Valli in Reggio Emilia, Italy (2007). Bach’s fifth Brandenburg Concerto is special in two respects: It includes a ‘concertino’ with harpsichord, transverse flute and violin, in which the three solo instruments confront the string orchestra as if in a kind of dialogue. And the slow middle movement is played by the three soloists without any string orchestra at all. This second movement is a restrained lament in which violin, flute and harpsichord enter into a canonic dialogue with each other. What is also special about the Fifth Brandenburg Concerto is that Bach gave the harpsichord a prominent role. In the first movement, this tradition-steeped keyboard instrument has a three-minute solo passage that is brilliantly handled by Ottavio Dantone (05:56). Because of this harpsichord solo, the Brandenburg Concerto No. 5 is considered perhaps the earliest example of a solo concerto for a keyboard instrument. 00:00 I. Allegro 09:00 II. Affettuoso 14:03 III. Allegro Dantone plays a harpsichord from the workshop of William Horn, which is also a feast for the eyes with its many decorations on a bright red base in the middle of the stage. The Latin quotation in the lid of the ornate keyboard instrument ‘Nulla scientia melior musica animae harmonia’ (There is no science better than the music of the soul) could have been written just for this Brandenburg Concerto, which seems to have drawn its rhythm from the pulse of the human soul. The Brandenburg Concertos (BWV 1046–1051) by Johann Sebastian Bach (1685 – 1750) are a collection of six instrumental works that Bach dedicated to Christian Ludwig, Margrave of Brandenburg, in 1721. They are regarded as some of the best orchestral compositions of the Baroque era. The concerts were, however, likely composed between 1718 and 1721, for Bach’s Köthener Hofkappelle. Bach’s original title, Six Concerts with Various Instruments, describes exactly what is special about these concerts; the varied use of several instruments – with different strings, wind instruments, or solo harpsichord for the concertini. Watch the other 5 Brandenburg Concertos with Abbado and the Orchestra Mozart: (http•••) (http•••) (http•••) (http•••) (http•••) The Orchestra Mozart was founded in 2004 to afford talented young musicians the opportunity to play in a world-class orchestra, with world-class conductors. Claudio Abbado +••.••(...)) is considered one of the greatest conductors of all time. In 2011, Classic Voice music magazine named Abbado the most important of the top 100 living conductors. He was born into a family of musicians in Milan, Italy, on June 26, 1933. Following his study of conducting, piano, and composition at the Giuseppe Verdi Conservatory in Milan, he continued his education at the Vienna Music Academy. In 1968, Abbado became head conductor of the Milan Scala. In the subsequent years, he could be seen on the world’s great concert stages, in Milan, London, and Chicago. Following his 1984 debut at the Vienna State Opera, he became the city’s general music director. In October of 1989, the members of the Berlin Philharmonic elected him artistic director, succeeding Herbert von Karajan. He remained in Berlin until 2002. Abbado died in Bologna on January 20, 2014, aged 80, following a long battle with cancer. Giuliano Carmignola – Violin Ottavio Dantone – Harpsichord Jacques Zoon – Flute Orchestra Mozart Claudio Abbado – Conductor EuroArts Watch more concerts in your personal concert hall: (http•••) and in our Bach playlist: (http•••) Subscribe to DW Classical Music: (http•••) #JohannSebastianBach #BrandenburgConcertos #ClaudioAbbado
Marga Richter Walter Trampler Ching Bentley Shepherd 1926 1962 1978 2018
Darkening of the Light for solo viola (1978) by Marga Richter (b. 1926) I Lento doloroso II del movimento precedente III Allegro risoluto IV Adagio V Allegramente VI Allegro con passione VII Allegro fervente VIII Allegro con fuoco IX Lento cantando 'Darkening of the Light', written in 1962 for renowned violist Walter Trampler, is a work with nine short interconnected movements. Each segment, from I-VIII, has its own character, from yearning to turmoil, even rage. Then, in movement IX, (a resolution of movement IV), comes quiet acceptance and peace. Six of the movements follow one another without a perceptible pause, making the work, in essence, one entity. The light has sunk into the earth: The image of Darkening of the Light. Wounding of the Bright. The Light is veiled, yet still shines. I Ching 36 Karen Bentley Pollick, viola New York Women Composers at the Chapel February 1, 2018 Chapel Performance Space at Good Shepherd Chapel Seattle, Washington (http•••) (http•••) Daniel Husser, Videographer
Milne Baar Bade Dard Moody 2022
PRESENTING 2ND TRACK "LADY DON" FROM THE EP PARACOSM SUBSCRIBE THE CHANNEL AND LIKE AND SHARE THE VIDEO IF YOU ENJOYED IT️ SPECIAL THANKS TO DRIP'N'DRILL FOR MAKING THIS AMAZING VISUALIZER SPOTIFY:- (http•••) AUDIO CREDITS :- LYRICS :- LEGEND MUSIC :- HENN BEATS MIX AND MASTER :- LEGEND Visualizer By- Drip 'N' Drill Follow them on Instagram:- (http•••) Website- (http•••) CONNECT WITH ME:- INSTAGRAM :- (http•••) TWITTER :- (http•••) LYRICS:- BIBA KEHNDI MAINU CHAHEEDA NI TU, UTHATA MERA FAYDAA HAI TU, MUJHE JHEL PAYEGA NI TU, MAI HU LADY DON, LADY DON, LADY DON x2 VERSE 1:- KHUD KO SAMJHE LADY DON BABY BOSS HOTNESS JITNA BOMBAY NI HOT MILNE KO PUCHO TOO TAYAAR SO BAHANE FIRE KARTI ANKHEIN ISKI MAARE DEKE SHOT ONLINE MAI BELIEVE CHECK KARE IN PERSON YEAH! LUCIFER KI FAN DETECTIVE KARE IMPERSONATE! GHOOMAIYEN YE ISHARO PAI ADAT SAI MAJBOOR BABY JAISA RAKHA HO LAPTOP OR MAI USKA CURSER YEAH! JAB PEHLI BAAR MILI THI TOO KAHE TUJHE SEEN NA DU AB RAAT BHAR CALLS BABY MAINU SON NA DE AZADI RAKH SAMBHAL KAI KAHI TUJHSE CHEEN NA LU AB KHUD HO GAYI GUM MAINU KISE HOR KA HOR DA DON NA DE HUM BHI HAI KHILADI BADE KHELE USKA KHEL PYARA DIL HUA RETIRED OUT MAI DARD KO JHELTA RAHA PLAYERS BADAL GAYE AB LAGE USKO KHEL PYARA WO KAR GAYI BOLD PAR MAI FIR BHI KHELTA RAHA BABY NU PASAND NI AA KAYDA KANOON PAR KEHNDI LEGEND I GONNA SUE YOU! I AM WAY ABOVE YOU BIBA KEHNDI MAINU CHAHEED NI TU CHAHEEDA NI TU HOOK BIBA KEHNDI MAINU CHAHEEDA NI TU, UTHATA MERA FAYDAA HAI TU, MUJHE JHEL PAYEGA NI TU, MAI HU LADY DON, LADY DON, LADY DON x2 VERSE 2:- KAATIL NIGAHAN NI TE ATT OHDE NAKHRE NAI! LIP GLOSS REHNDA ON SHAUK WAKHRE NAI! BABY THODI MOODY KABHI GUSSA KABHI HOTI SET! JADDO PAAVE BAGGY JENE SAARE MUNDE OHNU TAKDE NE ISHARE KARE GHAYAL DIL HASI ISKI CHEER DE JAATI SOLO DRIVE GAADI RAKHE OVERSPEED PAI SPICY SI LADKI YE PAR MUJHKO LAGTI SWEET YE! KHATI MERA SIR KEHTI BABY YOU MY CHEAT MEAL! WO UDE DADDY MONEY PAI HAR DIN WHAT A SUNNY DAY BRIGHT USKA FUTURE KIS BAAT KI AB KAMI HAI? ARTIST MAANE KHUD KO NAIL ART KARE JABI YE ! MANWAYE APNI BAAT BABY JAANE 100 TARIKE LEGEND HOGA BRAND KHALI NAAM HI NAHI YE! JAAN KI KEEMAT DIL PAISA DAAM HI NAHI HAI! BABY SAHE TERE NAKHRE YOU THE SPECIAL ONE! JO TERE HAATH SAI NA PEEYA WO JAAM HI NAHI HAI BIBA KEHNDI MAINU CHAHEEDA NI TU, UTHATA MERA FAYDAA HAI TU, MUJHE JHEL PAYEGA NI TU, MAI HU LADY DON, LADY DON, LADY DON IGNORE TAGS #king #krsna #raftaar #machayenge #lovesong #pop #rnb #music #video #musicvideo #newmusic #hiphop #rap #rapper #nowplaying #listening #radio #hiphophead #applemusic #producer #playlist #spotify #dance #uk #undergroundhiphop #independentartist #london #hiphopmusic #dj #beats #musicians #hiphopartist #hiphopnation #unsignedhype #ukrapper #artist #rock #indie #fashion #indiemusic #newyork #producer #art #style #life #singer #underground #indieartist #unsigned #musician #grind #studio #brooklyn #motivation #songwriter #usa #hustle #diy #entertainment #strong
Henry Purcell David Thomas Simon Preston Trevor Pinnock John Gostling 1685
They that go down to the sea in ships, anthem for alto, bass, chorus, 2 violins & organ, Z. 57 (1685) Matthew Bright, solo alto David Thomas, solo bass Choir of Christ Church Cathedral, Oxford Simon Preston The English Concert Trevor Pinnock There is a story to go along with this anthem. John Gostling was a famous bass singer in the employ of the Chapel Royal. It happened that King Charles II got himself a new ship, which he nicknamed after his mistress, the Duchess of Portsmouth, the Fubbs. He asked John Gostling to go with him on its first voyage to supply the entertainment. It so happened that a terrible storm blew up and they all were almost killed, or so thought John Gostling. For when he returned, he looked some verses from Psalm 107 which has a lot of storm and ship references, and asked Purcell to set them. This anthem features a prominent bass solo, as well as a countertenor solo voice. And much of the text is about the terrors of the sea. The instrumental introduction has two sections, a slow beginning and a faster triple time second half. The bass opens the vocal music. He begins at the top of the musical line and descends as he sings, "They that go down to the sea in ships." A triple time arioso section begins on "At His words, and the winds ariseth" on upwardly spiralling lines, and the "storm" on stormy melismas. The waves are "lifteth up" to a motive that skips upwards in leaps, and that repeats higher and higher as the waves rise. The music "staggers" and "reels" as the ships are tossed at sea. There is a dramatic mood change for "So When they Cry to Thee, Lord". Rich, chromatic harmonies and angular lines as the bass sings close to the countertenor at the top of his range. The mood is strained, minor, and mournful. The storm ceases as dramatically as it began. The bass and countertenor in imitative entrances sing "So he maketh". They sing in close duet; the storm winds down in a long melisma and the word "still" is treated pictorially. First it is uttered quietly with two rests following, and finally the upper voice sings a long still note as the bass voice continues the single utterances with two rests. All the while Purcell writes a dramatic decrescendo and finally the word "still" is sung on the last bass note and held alone, in piannissimo. After an instrumental ritornello the song continues with "Then they are glad" sung in rich florid polyphony that features a violin solo above the two male voices. The sailors find a "safe haven" and settle gracefully and gently on a dramatic cadence. "O that men" continues polyphonicaly. "That they would exalt" closes the text in rhythmic diminution with a quick syllabic setting as the singers "praise Him" in lively imitation. A final chorus featuring the full choir closes the anthem. Full, sumptuous, and rich, it is a dramatic ending to this wonderful work. [allmusic.com] Art by Abraham Storck
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