Claudina Montenegro Video
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2024-04-19
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Debussy Ravel Bach Shostakovich Ramos Cayabyab Bautista Sims Montenegro 1830 1909 2021
Bedroom Concerto #1 2021, Dominic Laxamana. All rights reserved. In partial fulfillment of the requirements of MuP 196 Playing time: 47 minutes Bedroom Concerto #1 is a seven-movement opus for orchestra, granulated samples, and synthesized melodic and percussion instruments. It is a work that can be performed live in the concert hall, but due to limited resources accentuated by the Covid-19 lockdown, the recording for my graduation recital is created with MIDI programming and sampled playback. The accessibility of computer programs and recording equipment allows one to create his/her own cost-efficient large work created specifically for listening at home or on the go. The melodic weaving between synthesizer presets and orchestra is an extension of the impressionist orchestration innovated by Debussy and Ravel. Klangfarbenmelodie (tone-color melody) is also incorporated. Melodic synthesizers are assigned modulating timbres for smoothly shifting instrumentation via mod wheel automations. Regarding other elements of music, polyrhythms are used to create time-based textures. Chromaticism is employed for tonal obfuscation. The structure of the piece is a dialogue between musique concrète and a more familiar convention of orchestral music. A recurring motif, based on the pelog scale of the Indonesian gamelan, is heard throughout the whole opus in various transmutations. The theory of evolution serves as my narrative basis, with a specific focus on mankind’s struggle to live in harmony with nature. I. Prologue (02:17) The first movement prologue starts in the key of G# minor but the latter part is a musique concrète work created with the same orchestral renderings of the first part of the prologue, only to be cut, stretched, spliced, pitch-shifted, and filtered through various granular synthesizer effects (I used Hadron Granular Synthesizer). II. Sonata (06:45) Keeping with the tradition of symphonies and concertos (though not placed as the first movement), a sonata form in D# minor takes form as the second movement. III. Interlude 1 (18:30) The third movement, a concrète interlude, still utilizes the same orchestral samples as the prologue, but spliced and pitch shifted to anticipate motifs of the other movements (such as the subject of the succeeding fugue). The interlude ends with samples that are spliced to mimic the interlocking patterns of the Philippine gangsa commonly heard in the Cordillera highlands. IV. Fuga (23:56) The fourth movement is a fugue in C# minor. The contrapuntal basis for the fugue has a subject and three countersubjects. The four voices are spread across the performing groups. Instead of keeping a constant time signature like the fugues of Bach and Shostakovich, this fugue has shifting time signatures with callbacks to established motifs. The structure of the movement is one mise-en-scène exposition and eleven episodes of free counterpoint interjected with several codettas and strettos. V. Interlude 2 (34:16) The fifth movement, which is the second concrète interlude, is a recap of the primordial listening of the previous concrète sections after an exhibition of harmonies that humans have evolved to develop and appreciate. The inclusion of this interlude is a mere reflection of humanity being a synthesis of the past and present, whose future is determined by both its willpower and its uncontrollable probabilities. VI. Time Mandala (37:04) The sixth movement, Time Mandala, is chronologically the first conceived movement of the concerto. It is based on a derived pelog scale of the Indonesian gamelan and the idea had been expanded into the other orchestral movements. VII. Epilogue (48:16) The final movement is a concrète epilogue that features the whole orchestral recording of the prologue, albeit the recording being spliced and reversed, signifying the work has come full circle. Credits: Public domain clips provided by Pixabay.com Public domain photos of the cosmos by NASA Bob’s Electric Theatre (1909), dir. Segundo de Chomón Recital poster by Patricia Ramos Instagram: (http•••) Facebook: (http•••) Acknowledgements: UP College of Music, Diliman, Quezon City UP CMu College of the Office Secretary UP Conemus Prof. Josefino “Chino” Toledo Dr. Verne de la Peña Dr. Maria Christine Muyco Dr. Marie Jocelyn Marfil Prof. Mary Katherine Cabral Dr. Jonas Baes Dr. Beverly Shangkuan-Cheng Ms. Cristina Maria Cayabyab Kuya Jec Bautista Sims family Bongosia family Montenegro family Dr. Rodel Noreli E. Lorenzo Dr. Albert Magcalas Mang Fred’s MusiKolektibo Mga tambay sa gilid ng College of Music Last but not least, my family
Arcangelo Corelli Giovanni Antonini Boeke Fabio Vacchi Verdi Ottavio Dantone Fabio Biondi Rinaldo Alessandrini Cecilia Bartoli María Espada Vivica Genaux Ann Hallenberg Montenegro Emma Kirkby Montanari Enrico Onofri Rial Andreas Scholl Delibes Handel Trento Luigi Cherubini Felix Mendelssohn Bartholdy Ghielmi Zehnder Andrea Marcon Enrico Dindo Emmanuel Pahud Bach Accademia Bizantina Europa Galante Il Giardino Armonico Stavanger Symphony Orchestra Orquestra Comunitat Valenciana Gewandhaus Leipzig Schola Cantorum Teatro Scala Berliner Philharmonie Berliner Konzerthaus Bozar Teatro Pergola Alte Oper Frankfurt Oper Frankfurt Gewandhaus Wiener Konzerthaus Tonhalle Zurich Festival Beaune Festival Música Canarias Innsbrucker Festwochen Alten Musik Salle Gaveau Cité Musique Teatro Arcimboldi Teatro Regio Teatro Regio Parma Teatro Real Madrid 1653 1707 1713 1975 1980 2010 2014 2017 2019
NEW CD!! Arcangelo Corelli: Solos and Concertos Fitted for the Flutes - Arcana (http•••)/ Marco Scorticati, recorder Davide Pozzi, harpsichord Arcangelo Corelli +••.••(...)) Sonata in F major Op.V n.4 for recorder and b.c. (London, 1707) Adagio, Allegro, Vivace, Adagio, Allegro Padua, Sala della Carità, 1th June 2010 European Recorder Teachers' Association - ERTA Italia Video by Edoardo Lambertenghi ((http•••) MARCO SCORTICATI Born in Milan in 1980, he began studying recorder at a very early age. He studied with Giovanni Antonini and Pedro Memelsdorff in Milan, with Walter van Hauwe in Amsterdam, and with Kees Boeke in Zurich. He also studied composition with Fabio Vacchi at the “G. Verdi” Conservatory in Milan, and baroque transverse flute with Marco Brolli in Milan. As a recorder and transverse flute player he regularly performs with his ensemble Estro Cromatico, and collaborates a.o. with Accademia Bizantina (O. Dantone), Europa Galante (F. Biondi) and Il Giardino Armonico (G. Antonini). He has performed with the Milan Teatro alla Scala Orchestra directed by Ottavio Dantone, Giovanni Antonini and Rinaldo Alessandrini; he has also appeared as a soloist with the Stavanger Symphony Orchestra and the Orquestra de la Comunitat Valenciana, both directed by Fabio Biondi, and with the Orchestra da Camera di Mantova. He has played together with such well-known soloists as Cecilia Bartoli, Fabio Biondi, María Espada, Vivica Genaux, Ann Hallenberg, María Hinojosa Montenegro, Emma Kirkby, Stefano Montanari, Enrico Onofri, Nuria Rial, Andreas Scholl and Mária Zádori. He appears on CD and DVD recordings with Accademia Bizantina (Decca, Naïve Classique), Europa Galante (Virgin Classics, Dynamic) and Il Giardino Armonico (Warner Classics, Naïve Classique). He has performed as a soloist in some of the most important European concert halls and festivals, such as Berliner Philharmonie and Berliner Konzerthaus, Bozar (Brussels), Die Glocke (Bremen), Musikhalle Hamburg, Teatro della Pergola (Florence), Alte Oper Frankfurt, Gewandhaus (Leipzig), Barbican Hall (London), Philharmonie Luxenbourg, Baluarte (Pamplona), Théâtre des Champs Elysées (Paris), Auditorio di Santa Cecilia (Rome), Auditorio Kursaal in San Sebastián, Stavanger Concert Hall (Norway), De Oosterpoort (Utrecht), Palau de les Arts Reina Sofía (Valencia), Auditorio Miguel Delibes (Valladolid), Wiener Konzerthaus, Tonhalle (Zurich), Berliner Tage für Alte Musik, Musikinstrumenten-Museum Berlin, Festival de Beaune, Festival de Música de Canarias, Festival de Música de Compostela, Opera Rara Krakow, Innsbrucker Festwochen der Alten Musik, MilanoArteMusica, Musica e Poesia a San Maurizio and Società del Quartetto (Milan), Tage Alter Musik Regensburg, Settimane Musicali di Stresa e del Lago Maggiore and Lingotto Musica (Torino). With Estro Cromatico he has recorded the albums “Son d’Amore - Recorder sonatas by G.F. Handel” (Stradivarius, 2014) and "Arcangelo Corelli: Solos and Concertos Fitted for the Flutes" (Arcana, 2019). He taught recorder at the Conservatories in Bari, Trento, Rome and Cosenza, and is currently teaching at the "Luigi Cherubini" Conservatory in Florence and at the Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy" in Leipzig. DAVIDE POZZI Born in 1975, he graduated with honors in harpsichord, fortepiano and clavichord, as well as organ and organ composition at the Conservatorio "G. Verdi" in Milan. He then continued his studies at the Civica Scuola di Musica in Milan receiving his diploma, cum laude, in Lorenzo Ghielmi's baroque organ class. He attended the "Schola Cantorum" of Basel for post-graduate studies in organ with Jean-Claude Zehnder and in harpsichord with Andrea Marcon. He has played in numerous countries such as Italy, France, Germany, Switzerland, Luxembourg, Portugal, Spain, Austria, Croatia, Poland, Finland, Latonya, Israel, USA and Japan, performing at such well-known music festivals and venues as Tage Alte Musik Regensburg, Museum of Musical Instruments, Konzerthaus and Philarmonie in Berlin, Salle Gaveau and Cité de la Musique in Paris, Vienna Konzerhaus, Concertgebow in Amsterdam, Tonhalle in Zurich, Società del Quartetto, Auditorium, Teatro degli Arcimboldi and Teatro alla Scala in Milan, Teatro Regio in Parma, Teatro Real in Madrid a.o. He has played as a soloist with such artists as Enrico Dindo, Sergio Azzolini and Emmanuel Pahud. He recorded C.P.E. Bach's fortepiano works with Streicherakademie Bozen under Sergio Azzolini (Sony Classical), C.P.E. Bach's harpsichord and fortepiano sonatas (Stradivarius) and J.S. Bach's Goldberg Variations (Pan Classics, 2017). He appears on CD recordings for Decca, Sony, Arcana, Stradivarius, Naive, Glossa, Chandos, Amadeus, Bongiovanni, Tactus, Bottega Discantica and Arts. He teaches harpsichord at the Cosenza Conservatory.
Ilić Stanislav Binički Stevan Stojanović Mokranjac Stojanović Marsh Holder Aleksa Jovanović Mihajlović Nikola Mijailović Petrović Josip Slavenski Montenegro 1872 1890 1894 1899 1903 1904 1911 1914 1920 1924 1942 2021
#Binicki #stanislavbinicki #serbiancomposers Stanislav Binicki When I saw your eyes, song for soprano /Kad ja vidjeh oci tvoje, based on the verses of Jovan Ilić Stanislav Binički, Serban composer, +••.••(...)) Stanislav Binički was born in the village Jasike near Kruševac. He attended the high school in Niš, where he attended flute and violin classes as well. His first compositions appeared in the high school period. In 1890 enrolled at the Faculty of Philosophy in Belgrade, at the Department for natural and mathematical sciences. During his studies, he was an active singer at the Belgrade singing Society which was managed by Stevan Stojanović Mokranjac, as well as in the choir Obilić in which Josif Marinković was a conductor at that time. Having completed his studies in 1894, he got a post of a Mathematics teacher in a high school in Leskovac. Binicki went to Munich, enrolling at the Musical Academy, department for composition and singing, after one year in service and with the aid of scholarship issued by the Ministry of Education. During his studies in Munich, he regularly performed as a singer and a conductor. He got married in Munich to Frida Blanke who later became Miroslava Binički, a concert singer and vocal pedagogue. Having completed his studies in Munich in 1899, he came back to Belgrade, where under the auspices of Military Ministry, he founded Belgrade military orchestra which performed together with them regular symphonic concerts in Belgrade. In the same year 1899, he founded the first musical school in Belgrade together with Stevan Stojanović Mokranjac and Cvetko Manojlović ( contemporary musical school Mokranjac) in which he worked as a teacher of singing. In 1903 he composed the first performed Serbian opera Na uranku (At early morn fete champetre), libretto by Branislav Nušić, which had its premiere at the National theatre in Belgrade on 20th December 1903. Binički himself conducted at this performance. In 1904 he founded the instrumental ensemble Muzika kraljeve garde (Music of the King’s soldiers) which he performed with until 1920. At the same time we was working with many choir ensembles and most with the Singing group Stanković. With these two ensembles Binički had two premiers of vocal-instrumental pieces of the world musical literature. In 1911, he became the principal of the newly opened music school Stanković in Belgrade. In 1914, with the complete Serbian military service, he passed a horrifying way through Albania and reached Corfu, where he manages to organise work of the orchestra of the King’s soldiers which he performed with in Corfu and Thessaloniki, and later throughout France. This is where his most famous piece Marš na Drinu (Marsh towards the Drina) was composed. After the war, with the same orchestra, he performed at the great tour throughout Yugoslavia. In 1920, he founded and became the first director of the Opera of the National Theatre in Belgrade. Binički initiated the whole cultural, art, and particularly musical life in Serbia and he was a holder of many pioneer cultural projects. Although his pieces are primarily based on Serbian folklore, he introduced in them many elements of Serbian civil culture of that time. In 1924, he stopped his public art work and he devoted himself exclusively for composing. He died on February 15th 1942 in Belgrade. As a composer, he showed great love for the genre of singing. Many of his songs achieved great popularity and have great impact today. He composed them based on the texts of some of the most significant Serbian poets, such as Aleksa Šantić, Jovan Jovanović Zmaj, Djura Jakšić, Jovan Ilić as well as Branislav Nušić. Jovanka Mihajlović- soprano, was born in Belgrade. She graduated from the Faculty of Music in Belgrade, at the Department for singing in the class of Professor Nikola Mijailović. Jovanka Mihajlovic graduated at the Department for piano, as well, in the class of Professor Jelena Jovanović- Petrović. She completed lower music school “Josip Slavenski” the Department for harpsichord, in the class of Professor Svetlana Stojanović. She works as a teacher of singing in the Music school “Stanislav Binički” in Belgrade. Jelena Ćirković- piano, was born in Belgrade. She graduated from the Academy of Music in Cetinje (Montenegro) in the class of Professor Vladimir Bochkarev. She works as piano teacher in the music school “Stanislav Binički” in Belgrade. Jovanka and Jelena are the members of the Intima Duo, and they have been working together nourishing the genre of art songs in work of Serbian composers. Mastering- Miloš Marinković This recording was created in February 2021. •••@••• We owe enormous gratitude to the music school ”Stanislav Binički” in Belgrade, where this recording was made in the Great Hall of the school.
Claudina Acuña Montenegro Sin que se nos pase el día, reconocer la gran labor de esta mujer. Fue la quinta mujer que se título de Abogada en Chile. Además, un día como hoy de 1925, 32 años después de que la Corte Suprema reconociera el legítimo derecho de las mujeres a optar a cargos dentro del Poder Judicial, fue nombraba secretaría del juzgado de Santa Cruz. Agradecemos la labor que tuvo en abrir caminos para las futuras generaciones. ¡Síguenos en redes sociales! Instagram: (http•••) Facebook: (http•••) Twitter: (http•••)
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- cronologia: Cantanti lirici (Europa). Interpreti (Europa).
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