Karl Holten Video
compositore
- Germania
Ultimo aggiornamento
2024-05-01
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Knudåge Riisager Erik Satie Arthur Honegger Bach Tivoli Concert Hall 1917 1923 1924 1926 1927 1976 2013
00:00 - I. T-DOXC "poème mécanique:" Quarter Note = 80 / Conductor: Bo Holten Orchestra: Aarhus Symphony Orchestra Year of Recording: 2013 / "Several of the radical tendencies one encounters in Riisager’s works in the first half of the 1920s are concentrated in T-DOXC (poeme mecanique) from 1926. In the first fair copy the work is called Jabiru T-DOXC and even earlier simply L’avion. The title that Riisager finally chose was the name of a then brand new type of commercial aircraft with nine seats which was introduced in Denmark in 1926. Writing music that described automobiles, ocean liners, industrial enterprises, trains and aircraft etc. was a hallmark of the Italian Futurists’ artistic agenda around the First World War. To this end several of them had developed sound-producing apparatuses, such that one could go beyond the limitations imposed by the traditional musical instrumentarium. If one did not make use of such aids, it was quite legitimate – as the Frenchman Erik Satie did in the ballet music for Parade (1917) – to include sound-makers such as a siren, a revolver, a typewriter and a wheel of fortune in the orchestra in order to get everyday sounds into the composition. However, it is far more likely that the inspiration for Riisager’s work must be sought in Arthur Honegger’s Mouvement symphonique No. 1 Pacific 231, which was composed in 1923, given its first performance in Paris on 8 May 1924 and published the same year. The work, which evokes a modern steam locomotive, was played for the first time in 12 13 Denmark at a concert in Dansk Filharmonisk Selskab on 30 March 1926. Like Honegger, Riisager renounces specially sound-painting instruments and instead exclusively uses a traditional symphony orchestra ensemble. In another newspaper article Riisager says of T-DOXC: “What I wanted to express in the composition is the mental sensations evoked in me by the sight of the aeroplane gliding over the vault of heaven. It appears as a dot in the distance – gradually sweeps forward like a swelling tension in the sky and loses itself again on the horizon, wrapped in its mantle of detonations. / It is not my intention to claim that the development of technology gives art new psychological content – but when one looks within oneself on the basis of the new technology and the many magnificent inventions, one will sense a new beauty arising and will be filled with a new aesthetic experience which is in principle different from everything one has earlier felt. / It has been a spiritual experience for me to gaze at the aeroplane swelling above me – and it is this experience, which can only be described in music, that I have wanted to express in ‘Jabiru T-Doxc’.” Although there are strong resemblances between Riisager’s and Honegger’s works, the differences between the two works are more striking. In Pacific 231 Honegger uses a strictly organized rhythmic acceleration – as an expression of the increasing and later decreasing speed of the locomotive – kept within the form of a chorale prelude of the kind familiar from J.S. Bach’s later works. Much of the thematic and motivic material in the work can be traced back to the bearing cantus firmus. While Honegger lets his orchestra work like a machine and actually seem to be a machine, Riisager tries to describe a mental mood evoked by the sight of the aeroplane; he does this by letting his instruments alternate and thus conjure up a late-Impressionistic soundscape. T-DOXC opens with mainly pentatonic chords, but soon a motoric rhythm begins in the violins – this is intensified and becomes an ostinato rhythmic figure. Thus the way is paved for the fast alternation of repeated rhythmic figures – for instance in the large percussion group – which takes the process forward to the culminations of the piece and the subsequent relaxations of tension towards the end, where material from the introduction returns in delicate pianissimo. Disregarding the introduction and the ending, the process is typified by a quick, almost restless alternation of motifs and short themes in various instrumentations. Here too the work differs from Pacific 231, where the chorale seems to bear the ‘object’ consistently through the orchestral texture. The work was given its first performance in the Tivoli Concert Hall on 3 September 1927, when Frederik Schnedler-Petersen stood on the podium."(Claus Røllum-Larsen) / COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Musica Ficta Ficta Thomas Laub Laub Thomsen Kan Kun
Naar man ved Mennesker hænger Tekst: Paludan-Müller Melodi: Thomas Laub Solist: Lauritz Jakob Thomsen 1) Naar man ved Mennesker hænger, stueplanten, den kælne, man bliver; savner man Pleje, man hiver, altid til Røgt og til Hygge man trænger. 2) Røvet mit Ly og opreven, netop da Blomsten begyndte at skrante: atter til Frilandsplante, udsat for Storm og for Frost, er jeg bleven. 3) Lod jeg nu deler med Vrimlen, vejrliget som det kan falde jeg tager, skyen hen over mig drager, solskin og Regn jeg kun venter fra Himlen.
Mariusz Kwiecień Alex Esposito Esposito Véronique Gens Malin Byström Byström Elizabeth Watts Watts Antonio Poli Poli Alexander Tsymbalyuk Devlin Kragh Fabricius 1787
The finale of Act I of Kasper Holten's Royal Opera production of Don Giovanni Find out more at (http•••) Starring Mariusz Kwiecień, Alex Esposito, Véronique Gens, Malin Byström, Elizabeth Watts, Antonio Poli, Alexander Tsymbalyuk and Dawid Kimberg. Mozart’s Don Giovanni – first staged in 1787 – offers boundless scope for directors. Kasper Holten's interpretation focuses on the power of the creative imagination. Don Giovanni is cast as an artist who seduces an endless stream of women through his ability to create wonderful illusions. His catalogue of sexual conquests is a vain attempt to escape his own mortality, and ultimately comes at a high price. Holten’s production is rich in both colourful comedy and exhilarating drama. Set designs by Es Devlin (Les Troyens) and costume designs by Anja Vang Kragh (Stella McCartney, John Galliano for Christian Dior), with video projections by Luke Halls and choreography by Signe Fabricius, portray the visually entrancing world of Don Giovanni. At the heart of the production are the beauty and invention of Mozart’s dazzling score, which ranges from gorgeous arias and dramatic duets to the brilliant layering of dance melodies that bring Act I to a virtuoso close.
Mozart’s great opera of seduction, betrayal and retribution. Subscribe to our channel and find out more at www.roh.org.uk Serial womaniser Don Giovanni barely stops to draw breath between conquests – not even when one of his seductions ends in a murder. But time is running out for the Don and his servant, Leporello, and they are about to receive a dinner invitation that they simply can’t refuse... Kasper Holten’s production of Don Giovanni offers a glimpse inside the mind of one of opera’s most notorious seducers. With a spectacular revolving set by award-winning designer Es Devlin and ingenious video projections by Luke Halls, it gives audiences an experience of Mozart’s dazzling drama in all its wit, glamour and darkness.
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- cronologia: Compositori (Europa).
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