Margaret Maye Video
cantante polacca
- Polonia
- cantante, cantante lirico
Ultimo aggiornamento
2024-05-01
Aggiorna
Margaret Maye Bennett Leonard Bernstein Adolph Green 1958 1973 1977 1979 1980 1984 1993
Frank Sinatra, a member of the rat pack, coming out of retirement in 1973, recorded several albums, scoring a hit with "(Theme From) New York, New York" in 1980. Margaret Maye (in this video) singing Frank Sinatra Classic New York New York. Frank Sinatra started the Rat Pack with fellow singer-turned-actor Dean Martin, who Sinatra first performed with in the movie Some Come Running in 1958. They soon added singer/dancer/actor Sammy Davis Jr., actor Peter Lawford, and comedian Joey Bishop to the "Clan",one of the best Rat Pack movies was the original Ocean's Eleven. As well "Theme from New York, New York" (or "New York, New York") is the theme song from the Martin Scorsese film New York, New York (1977), composed by John Kander, with lyrics by Fred Ebb. It was written for and performed in the film by famed singer-actress Liza Minnelli, and has become identified as her signature song, which she also sang in the Olympic stadium during the 1984 Olympics, accompanied by 24 pianos and strobe lights. In 1979, it was recorded by Frank Sinatra, for his album Trilogy: Past Present Future (1980), and has since become closely associated with him. He occasionally performed it live with Minnelli as a duet. Sinatra recorded it a second time in duet with Tony Bennett for his 1993 album Duets. The first line of the song is "Start spreadin' the news, I'm leaving today I want to be a part of it: New York, New York." The song concludes with the line "If I can make it there, I'm gonna make it anywhere,It's up to you, New York, New York." It should not be confused with the song "New York, New York", from Leonard Bernstein, Adolph Green, Betty Comden's musical On the Town, which features the lyric "New York, New York, it's a helluva town / The Bronx is up and the Battery's down..." Great video on you tube of Liza Minnelli singing this song. I have also posted to YOUTUBE some videos of Margaret singing as well as videos of her speaking about Epilepsy. (http•••)
Maye Dost Charles Sanford Terry Stinson Bach Schweitzer Buxtehude Böhm Johann Gottfried Walther 1999 2003
BWV 601 Herr Christ, der einge Gottes-Sohn [Lord Christ, the only Son of God] (or Herr Gott, nun sei gepreiset [Lord God, now be praised]) Below are the first and last verses of Elisabeth Cruciger's hymn for Epiphany Herr Christ, der einig Gotts Sohn with the English translation of Myles Coverdale. Herr Christ, der ein'ge Gottes-Sohn Vaters in Ewigkeit, aus sein'm Herzen entsprossen, gleichwie geschrieben steht, er is der Morgensterne, sein Glänzen streckt er ferne vor andern Sternen klar. ∘∘∘ Ertöt uns durch dein Güte, erweck uns durch dein Gnad; den alten Menschen kränke, daß der neu' leben mag wohl hie auf dieser Erden, den Sinn und all Begehren und G'danken hab'n zu dir. Christ is the only Sonne of God, The Father Eternall: We have in Jesse founde this rod, God and Man natural! He is the mornynge star; His beames sendeth He out farre Beyonde other starres all. ∘∘∘ Awake us, Lorde, we praye The; Thy Holy Spirite us gave, Which maye oure olde man mortifie, That oure new man maye lyve. So wyll we alwaye thanke The, That shewest us so great mercye, And oure synnes dost forgeve. The same melody was used in the postprandial grace Herr Gott, nun sei gepreiset, the first verse of which is given below with the English translation of Charles Sanford Terry. Herr Gott, nun sei gepreiset, wir sagen frohen Dank, daß du uns Gnad' erwiesen, gegeben Speis' und Trank, dein mildes Herz zu merken, den Glauben uns zu stärken, daß du seist unser Gott. O God in heaven we praise Thee And yield Thee gratitude For all Thy generous bounty, For all our daily food, For all the love showered on us. For all the grace poured on us, By Thee, our loving Lord. According to the chronology of Stinson (1999), this chorale prelude was probably the first to be entered by Bach in the autograph manuscript. Already it shows with beguiling simplicity all the features typical of the Orgelbüchlein preludes. The cantus firmus is presented unadorned in the soprano line with the other three voices on the same keyboard and in the pedal. The accompaniment is derived from the suspirans pedal motif of three semiquavers (16th notes) followed by two quavers (eighth notes). For Schweitzer (1911b) this particular motif signified "beatific joy", representing either "intimate gladness or blissful adoration." Although the chorale prelude cannot be precisely matched to the words of either hymn, the mood expressed is in keeping both with joy for the coming of Christ and gratitude for the bountifulness of God. The motif, which is anticipated and echoed in the seamlessly interwoven inner parts, was already common in chorale preludes of the period. Easy to play with alternating feet, it figured in particular in the preludes of Buxtehude and Böhm as well as an earlier manualiter setting of the same hymn by Bach's cousin, Johann Gottfried Walther. Bach, however, goes beyond the previous models, creating a unique texture in the accompaniment which accelerates, particularly in the pedal, towards the cadences. Already in the opening bar, as Williams (2003) points out, the subtlety of Bach's compositional skills are apparent. The alto part anticipates the pedal motif and, with it and the later dotted figure, echos the melody in the soprano. This type of writing—in this case with hidden and understated imitation between the voices, almost in canon, conveying a mood of intimacy—was a new feature introduced by Bach in his Orgelbüchlein. '하나님의 독생자이신 주 예수 그리스도' BWV 601을 클래식 기타 2대로 편곡한 곡입니다. #bach #bwv601 #arrange #guitar
Bach Morozov Neumann Turovsky Mark Steinberg Steinberg Igor Oistrakh Oistrakh Régis Pasquier Pasquier Michael Frischenschlager Jeanne Lamon Augustin Dumay Weill Isaac Stern Alice Tully Fischer Sandoval Michel Legrand Maye Kent Nagano Alan Gilbert Karina Canellakis Leila Josefowicz Ilya Kaler Augustin Hadelich Mark Peskanov Daniel Rowland Maxwell Dorothy Delay Carnegie Hall Steinway Hall Alice Tully Hall Lincoln Center 2008 2012 2020
J.S. Bach - Sarabande, Partita No. 1 BWV 1002 Nikita Morozov, violin Recorded live @ The Empty Circle Space for Art, Music and Theater January 24, 2020 Recorded with two Neumann KM184 microphones, and two Lumix DMC FZ1000 cameras. (http•••) (http•••) ... Described by La Presse as a “violinist with genuine strength,” Nikita Morozov is a Grand Prize winner in competitions including the Festival du Royaume, Montreal Classical Music Festival, Sorel Music Festival, and the Canadian Music Competition. A quartet performance of his was praised by Allan Kozinn of The New York Times as ‘the best performance of the evening... This was a virtuosic performance, but it achieved the often elusive, typically Brahmsian goal of putting virtuosity at the service of bigger ideas, rather than celebrating it for its own sake.” Morozov studied the violin with the Turovsky family in Montreal for 16 years and completed his Bachelor of Music degree at the Université de Montréal in 2008, under the guidance of Eleonora Turovsky. He earned his Master of Music degree at The Juilliard School in 2012, having received the Naumburg and DePetris Scholarships, and studying with Lewis Kaplan and Joseph Lin. He later pursued a Doctor of Musical Arts degree at The Graduate Center (CUNY), where he studied with Rolf Schulte and Mark Steinberg. He has also worked with violinists Igor Oistrakh, Régis Pasquier, Rodney Friend, Mauricio Fuks, Michael Frischenschlager, Jeanne Lamon, and Augustin Dumay. Throughout his multi-faceted career, Morozov performed in halls including Weill, Zankel and Isaac Stern Auditorium (Carnegie Hall), Steinway Hall in NYC, Théâtre Maisonneuve at the Place-des-Arts in Montreal, Le Poisson Rouge in NYC, John F. Kennedy Center for the Performing Arts in Washington, D.C., Metropolitan Museum of Art, Museum of Modern Art in NYC (MoMA), Alice Tully Hall and Avery Fischer Hall (Lincoln Center in NYC). He shared the stage with jazz/pop legends Arturo Sandoval, Michel Legrand, Marilyn Maye, Elaine Page, Ana Gabriel, Becky G, and Rita Moreno, as well as conductors Kent Nagano, Alan Gilbert, Karina Canellakis, and Emmanuel Villaume, violinists Leila Josefowicz, Ilya Kaler, Augustin Hadelich, Mark Peskanov, and Daniel Rowland, among others. Throughout his 18-year teaching career, Nikita Morozov helped countless musicians of all levels, always encouraging an open-minded, curious and warm-hearted approach. His fascination with the infinite potential of humankind inspired him to study thoroughly Howard Gardner’s Multiple Intelligences Theory, Maxwell Maltz’s Psycho-Cybernetics, Neuro-Linguistic Programming, as well as the Feldenkrais Method. Morozov believes the music learning process to be one of holistic personal improvement, developing not only our musical talent, but also our interpersonal, creative, analytical and bodily-kinesthetic abilities. He teaches and lives by the words of the late Dorothy Delay: “The secret to concentration is enjoyment.” For bookings or lessons: •••@•••
Bach Morozov Neumann Turovsky Mark Steinberg Steinberg Igor Oistrakh Oistrakh Régis Pasquier Pasquier Michael Frischenschlager Jeanne Lamon Augustin Dumay Weill Isaac Stern Alice Tully Fischer Sandoval Michel Legrand Maye Kent Nagano Alan Gilbert Karina Canellakis Leila Josefowicz Ilya Kaler Augustin Hadelich Mark Peskanov Daniel Rowland Maxwell Dorothy Delay Carnegie Hall Steinway Hall Alice Tully Hall Lincoln Center 2008 2012 2020
J.S. Bach - Double I, Partita No. 1 BWV 1002 Nikita Morozov, violin Recorded live @ The Empty Circle Space for Art, Music and Theater January 24, 2020 Recorded with two Neumann KM184 microphones, and two Lumix DMC FZ1000 cameras. (http•••) (http•••) ... Described by La Presse as a “violinist with genuine strength,” Nikita Morozov is a Grand Prize winner in competitions including the Festival du Royaume, Montreal Classical Music Festival, Sorel Music Festival, and the Canadian Music Competition. A quartet performance of his was praised by Allan Kozinn of The New York Times as ‘the best performance of the evening... This was a virtuosic performance, but it achieved the often elusive, typically Brahmsian goal of putting virtuosity at the service of bigger ideas, rather than celebrating it for its own sake.” Morozov studied the violin with the Turovsky family in Montreal for 16 years and completed his Bachelor of Music degree at the Université de Montréal in 2008, under the guidance of Eleonora Turovsky. He earned his Master of Music degree at The Juilliard School in 2012, having received the Naumburg and DePetris Scholarships, and studying with Lewis Kaplan and Joseph Lin. He later pursued a Doctor of Musical Arts degree at The Graduate Center (CUNY), where he studied with Rolf Schulte and Mark Steinberg. He has also worked with violinists Igor Oistrakh, Régis Pasquier, Rodney Friend, Mauricio Fuks, Michael Frischenschlager, Jeanne Lamon, and Augustin Dumay. Throughout his multi-faceted career, Morozov performed in halls including Weill, Zankel and Isaac Stern Auditorium (Carnegie Hall), Steinway Hall in NYC, Théâtre Maisonneuve at the Place-des-Arts in Montreal, Le Poisson Rouge in NYC, John F. Kennedy Center for the Performing Arts in Washington, D.C., Metropolitan Museum of Art, Museum of Modern Art in NYC (MoMA), Alice Tully Hall and Avery Fischer Hall (Lincoln Center in NYC). He shared the stage with jazz/pop legends Arturo Sandoval, Michel Legrand, Marilyn Maye, Elaine Page, Ana Gabriel, Becky G, and Rita Moreno, as well as conductors Kent Nagano, Alan Gilbert, Karina Canellakis, and Emmanuel Villaume, violinists Leila Josefowicz, Ilya Kaler, Augustin Hadelich, Mark Peskanov, and Daniel Rowland, among others. Throughout his 18-year teaching career, Nikita Morozov helped countless musicians of all levels, always encouraging an open-minded, curious and warm-hearted approach. His fascination with the infinite potential of humankind inspired him to study thoroughly Howard Gardner’s Multiple Intelligences Theory, Maxwell Maltz’s Psycho-Cybernetics, Neuro-Linguistic Programming, as well as the Feldenkrais Method. Morozov believes the music learning process to be one of holistic personal improvement, developing not only our musical talent, but also our interpersonal, creative, analytical and bodily-kinesthetic abilities. He teaches and lives by the words of the late Dorothy Delay: “The secret to concentration is enjoyment.” For bookings or lessons: •••@•••
o
- cronologia: Cantanti lirici (Europa).
- Indici (per ordine alfabetico): M...