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She turns me on like a firecracker in the summer sun... ♖ Our new album « Tako Tsubo » is out now!! ️ → (http•••)l/TAKO-TSUBO ♛ Buy a vinyl, the CD… and win 2 LIFETIME tickets to our shows → (http•••)l/TT_shop ♘ On tour this year! → (http•••)l/LIMPERATRICE_TOUR-2021 ♘ Suivez Sa Majesté ~ (http•••) ~ (http•••) ♕ — Recevoir de nos nouvelles ~ (http•••)l/bulletin-impé microqlima records ~ (http•••) ~ (http•••) // mgmt/ Antoine Bigot — •••@••• booking/ Talent Boutique — •••@••• * LYRICS ~ I'm feeling my heart Beating with the rhythm of her body slowly moves I love this feeling Mm-mmm Yeah, yeah Well I can't deny it She turns me on, I can't control this burning desire I wish we could Having fun under the sun I don't know what it is but there is a trick in her Who works on me So well And I can't deny it She turns me on like a firecracker in the summer sun I can feel my mind Slowly fading with the smell of her perfume And when she's dancing Oh damn Mm-mmm I'm feeling my heart Beating with the rhythm of her body slowly moves I love this feeling Mm-mmm Yeah, yeah Well I can't deny it She turns me on, I can't control this burning desire I wish we could Having fun under the sun I don't know what it is but there is a trick in her Who works on me So well And I can't deny it She turns me on like a firecracker in the summer sun I can feel my mind Slowly fading with the smell of her perfume And when she's dancing Oh damn Mm-mmm (She turns me on)
Richard Strauss Georg Solti Wilde Krause Stratas Malfitano Mattila Ewing Marie Wittich Aino Ackté Gustav Mahler Arnold Schoenberg Giacomo Puccini Alban Berg Chamberlain Thomas Beecham Königliches Opernhaus Graz Opera Covent Garden Vienna State Opera 1891 1893 1905 1906 1907 1910 1918 1961
The Dance of the Seven Veils is Salome's dance performed before Herod II. It is an elaboration on the biblical story of the execution of John the Baptist, which refers to Salome dancing before the king, but does not give the dance a name. -Introduction: 00:00 -Danse: 00:23 - 01:39 1er Veil 02:07 - 02:18 2e Veil 02:56 - 03:14 3e Veil 04:09 -Moderato: 4e Veil 04:44 - 05:18 -Piu mosso: 05:46 - 06:42 - 07:05 -Primo Tempo: 07:18 5e Veil 07:47 -Molto Presto: 08:15 6e Veil 08:29 -Coda: 7e Veil 08:45 Wiener Philharmonic Orchestra Conductor: Georg Solti Decca 1961 The name "Dance of the Seven Veils" originates with the 1893 English translation of Oscar Wilde's 1891 French play Salome in the stage direction "Salome dances the dance of the seven veils". The dance was also incorporated into Richard Strauss's 1905 opera Salome. Richard Strauss: Strauss's operatic adaptation of the play also features the Dance of the Seven Veils. The dance remains unnamed except in the acting notes, but Salome's sexual fascination with John seems to motivate the request—though Herod is portrayed as pleased. The music for the dance comes from near the climax of the opera. The visual content of that scene (about seven minutes long with standard tempi) has varied greatly depending on the aesthetic notions of the stage director, choreographer, and soprano, and on the choreographic skills and body shape of that singer. Strauss himself stipulated that the dance should be "thoroughly decent, as if it were being done on a prayer mat." Nevertheless, many productions made the dance explicitly erotic. In a 1907 production in New York the dancer "spared the audience nothing in active and suggestive detail", to such an extent that some ladies in the audience "covered their eyes with their programs." Ernst Krause argues that Strauss's version of the dance "established the modern musical formula for the portrayal of ecstatic sensual desire and brought it to perfection." In Derek B Scott's view, "The eroticism of the 'Dance of the Seven Veils' is encoded in the sensual richness (timbral and textual) of a huge orchestra, the quasi-Oriental embellishment of melody (intimations of 'exotic' sensuality), and the devices of crescendo and quickening pace (suggestive of growing excitement)." In addition to the vocal and physical demands, the role also calls for the agility and gracefulness of a prima ballerina when performing the opera's famous "Dance of the Seven Veils". Finding one individual with all of these qualities is extremely daunting. Due to the complexity of the role's demands, some of its performers have had a purely vocal focus by opting to leave the dancing to stand-ins who are professional dancers. Others have opted to combine the two and perform the dance themselves, which is closer to Strauss's intentions. In either case, at the end of the "Dance of the Seven Veils", some sopranos (or their stand-ins) wear a body stocking under the veils, while others (notably Stratas, Malfitano, Mattila and Ewing) have appeared nude at the conclusion of the dance. Performance history: The combination of the Christian biblical theme, the erotic and the murderous, which so attracted Wilde to the tale, shocked opera audiences from its first appearance. Some of the original performers were very reluctant to handle the material as written and the Salome, Marie Wittich, "refused to perform the 'Dance of the Seven Veils'", thus creating a situation where a dancer stood in for her. This precedent has been largely followed, one early notable exception being that of Aino Ackté, whom Strauss himself dubbed "the one and only Salome". Salome was first performed at the Königliches Opernhaus in Dresden on 9 December 1905, and within two years, it had been given in 50 other opera houses. Gustav Mahler could not gain the consent of the Vienna censor to have it performed; therefore it was not given at the Vienna State Opera until 1918. The Austrian premiere was given at the Graz Opera in 1906 under the composer, with Arnold Schoenberg, Giacomo Puccini, Alban Berg, and Gustav Mahler in the audience. Salome was banned in London by the Lord Chamberlain's office until 1907. When it was given its premiere performance at Covent Garden in London under Thomas Beecham on 8 December 1910, it was modified, much to Beecham's annoyance and later amusement.
Beethoven Eder Franz Liszt Rellstab Alessandro Simonetto 1748 1799 1800 1804 1806 1835 1838
Beethoven: Piano Sonatas Opp. 13, 27, 57 / Gala Chistiakova 00:00 Sonata No. 8 in C Minor, Op. 13 'Pathètique' - I. Grave - Allegro di molto e con brio 12:26 Sonata No. 8 in C Minor, Op. 13 'Pathètique' - II. Adagio cantabile 17:48 Sonata No. 8 in C Minor, Op. 13 'Pathètique' - III. Rondo. Allegro 22:58 Piano Sonata No. 13 in E-flat major, Op. 27 'Quasi una fantasia' - I. Andante - Allegro - Andante 28:40 Piano Sonata No. 13 in E-flat major, Op. 27 'Quasi una fantasia' - II. Allegro molto e vivace 30:52 Piano Sonata No. 13 in E-flat major, Op. 27 'Quasi una fantasia' - III. Adagio con espressione 39:35 Piano Sonata No. 14 in C sharp minor, Op. 27 'Quasi una fantasia' - I. Adagio sostenuto 45:14 Piano Sonata No. 14 in C sharp minor, Op. 27 'Quasi una fantasia' - II. Allegretto 47:43 Piano Sonata No. 14 in C sharp minor, Op. 27 'Quasi una fantasia' - III. Presto agitato 55:52 Piano Sonata No. 23 in F minor, Op. 57 - I. Allegro assai 1:06:30 Piano Sonata No. 23 in F minor, Op. 57 - II. Andante con moto 1:14:26 Piano Sonata No. 23 in F minor, Op. 57 - III. Allegro ma non troppo. Presto Gala Chistiakova, Piano In the first decade of his career as a published composer, Ludwig van Beethoven completed an enormous amount of music. Some of the most beloved sonatas for piano belong to this prolific period, marked not only by the desire to be acknowledged as an emerging composer of his time, but also by wonderfully creative inspiration and innovation. All of these sonatas are crucial in the way Beethoven understood both musical forms and the possibilities of the piano as the new household instrument. The Sonata in C Minor, Op. 13 was published in 1799 by Eder as “Grande sonate pathétique” – a title not by Beethoven but by the publisher, and which the composer nonetheless liked (Eder found the piece’s dramatic sonorities greatly affecting). The frontispiece indicates that the work is composed for harpsichord or piano - to increase sales, since many people in Vienna still owned harpsichords (all the sonatas for piano that Beethoven published until then were sold as works written for both instruments). Here Beethoven experiments with novel ideas about form in the outer movements - innovations which will influence contemporaneous and future composers. The Two Sonatas, Op. 27, composed in the year 1800, were subtitled by Beethoven “Sonata quasi una fantasia” for the freedom with which their structures were conceived. Both sonatas present unusual features – the first, in E-flat major, almost cyclical, structurally evokes a fantasy wherein different movements are played without interruption. The structure is made more complex by the return of slow movement at the end of the work, before the closing coda. The second sonata, in C-sharp minor, presents two movements in sonata form - the first an Adagio, and the second featuring unusual harmonic relations between the two main thematic blocks. Franz Liszt aptly proclaimed that the second movement, a simple minuet in the key of D-flat major in ABA form, is “a flower between two abysses.” The second sonata from Op. 27 was nicknamed Mondschein (“Moonlight”) by the German critic Ludwig Rellstab in 1835, as its first movement evoked in his mind the silvery moon reflecting on the placid Lake Lucerne. Composed between 1804 and 1806, the Sonata in F Minor, Op. 57 was posthumously nicknamed “Appassionata” – a title given by the publisher of a four-hand version of the work in 1838, a title which still remains today. At the time of its composition, it was one of Beethoven’s most impressive works for the piano, perhaps matched in difficulty only by the Sonata Op. 53. Its nickname perfectly portrays the highly charged emotional content of the sonata’s framework. Dramatic dynamic contrasts in the outer movements create a compelling narrative, ending in a tragic, virtuosic coda. The andante movement is a series of variants based on the exponential development of rhythmic figurations. Gala Chistiakova, a rising talent on the world scene, offers an original reading of these famous Beethoven works, with great refinement and riveting control. The recordings was made by producer Alessandro Simonetto using two historical pairs of Brüel & Kjær microphones matched with more modern Prism Sound pres and converters equipments. Original album may be found here: (http•••) Don't forget to share our music and to subscribe to our channel: (http•••) Want to license our music? Check this: (http•••)
• Maria Perrotta (Primo) • Xénia Maliarevitch (Secondo) Performed with the composer watching! From the album 'Et si tout recommençait...' Listen on Spotify: (http•••) “I love the piano; I love the orchestra – hence the desire to write an 'orchestral' piano work. Twenty fingers will therefore shape this refined sound mass. This piece is built on the tireless repetition of the same bass note.” (G. Finzi) About Graciane Finzi: (http•••) About Maria Perrotta: (http•••) About Xénia Maliarevitch: (http•••) #GracianeFinzi #MariaPerrotta #XéniaMaliarevitch #womenpianists #piano4hands #womencomposers This video is not monetised by the uploader.
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- cronologia: Cantanti lirici (Europa).
- Indici (per ordine alfabetico): D...