Andreas Randel Video
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Madsen Crane Hopkins Merrill Joachim Neander Randel Cox 1650 1680 2019
►DOWNLOAD/STREAM the song: (http•••) ►Click SUBSCRIBE & "ring the bell" for future video notifications! ►SHEET MUSIC: (http•••) ►Click “SHOW MORE” to CONNECT with BYU SINGERS CONNECT WITH BYU SINGERS! Facebook: (http•••) Twitter/Instagram: @BYUSingers Website: (http•••) Spotify: (http•••) VIDEO CREDITS Produced, Directed, and Edited by Cody Phillips Director of Photography: Nick Sales - For booking, contact •••@••• 1st Assistant Director: Caitlin Black BYU Singers +••.••(...)) BYU Singers conductor: Dr. Andrew Crane Soloists: Kiersten Hopkins, Peter Dean Morgan Hair & Makeup Artist: Heather Everett Craft Services Coordinator: Hope Merrill Production Assistant: Mikayla Phillips Executive Producers: Ben Fales, Andrew Crane BYU Records 2019 SONG CREDITS Praise to the Lord, the Almighty Music: From Stralsund Gesangbuch; Text: Joachim Neander, 1650-1680; trans. by Catherine Winkworth; Arranged by CJ Madsen BYU Singers +••.••(...)) BYU Singers conductor: Dr. Andrew Crane Soloists: Kiersten Hopkins, Peter Dean Morgan Produced by Dr. Andrew Crane Executive Producer: Ben Fales Recorded Jeff Carter, Dan Ankenman Mixed by Guy Randel Edited and mastered by Troy Sales BYU Records 2019 ►DOWNLOAD/STREAM this song: (link coming soon). SPECIAL THANKS We would like to recognize several members of the choir that were available to record the song but unable to attend the video shoot. We greatly appreciate their talent and would not have had such a spectacular recording without them. We also express gratitude to Sue Cox and her family, Nicole and Kyle Kimzey, and Kristen Comella, without whom this video would not have been possible. BOOKING & PURCHASING ► For information about booking BYU SINGERS for a performance or concert, please contact BYU Performing Arts Management at 801-422-3576. ► For information about purchasing recordings and sheet music of the BYU SINGERS, please visit (http•••), call BYU Records at 801-422-8189, or send an email to •••@•••. BYU Records is part of BYU Music Group, an enterprise center in the School of Music at Brigham Young University, and part of the College of Fine Arts and Communications. BYU Records, Tantara Records, and BYU Music Publishing Group are part of BYU Music Group.
Frederick Delius Sir Thomas Beecham Sir Charles Groves Eric Fenby Verdi Randel Hallé Drury Richard Strauss Malcolm Sargent Berlioz Haydn Schubert Sibelius London Philharmonic Orchestra Royal Philharmonic Seattle Symphony Metropolitan Opera Covent Garden Camden Festival 1879 1899 1904 1932 1935 1938 1946 1961 1970 1971 1972 2007
Sir Thomas Beecham / London Philharmonic Orchestra / La Calinda from Koanga (Delius) / Recorded: February 11, 1938 / The first performance of Koanga was at Elberfeld on March 30, 1904, and was the first of Delius' operas to be performed. It was also the most labor-intensive with regard to the libretto, which was continually being revised. The opera was posthumously published in 1935. Sir Thomas Beecham directed a revival of Koanga on 23 September 1935 at Covent Garden. A later revival was in 1972 for the Camden Festival at Sadler's Wells, London, conducted by Sir Charles Groves. Douglas Craig and Andrew Page had worked extensively on revisions to a performing edition, which was used for the first complete commercial recording conducted by Groves. Robert Threlfall has examined revisions to the text of Koanga in its various editions. More recent revisions to the libretto have been by Olwen Wymark. The single most famous musical passage from the opera contains the melody known as La Calinda, which is the only part of the score that has remained famous in the concert hall. Eric Fenby, Delius' amanuensis, has spoken of the opera as follows: "Koanga is one of those singular works that attract attention in Delius's development but which stand apart from the rest of his music. Usually, once a work was written, Delius's interest in it would wane. It would then be renewed and be relived temporarily every time he heard it again. For Koanga, however, he showed concern as though it held some secret bond that bound him to his youth in Florida. It was the one work he deplored in old age he was never likely to hear again. And so it proved. A dark grandeur pervades the score which, whilst yielding to hankerings after Wagner, recalls the tragic gusto of Verdi. The elements of time, place and plot allowed him a range of textures and moods wider than in his other operas." The first US staging of Koanga, and of any Delius opera, was by the Opera Society of Washington in late 1970 and early 1971.[3] [4] London's Pegasus Opera Company staged Koanga in April 2007 at Sadler's Wells Theatre. William Randel has studied the relationship of the opera and its libretto to the original story of Cable. The FULL wikipedia article on Koanga can be found here: (http•••) Sir Thomas Beecham, Bart, CH (April 29, 1879 / March 8, 1961) was an English conductor and impresario best known for his association with the London Philharmonic and the Royal Philharmonic orchestras. He was also closely associated with the Liverpool Philharmonic and Hallé orchestras. From the early 20th century until his death, Beecham was a major influence on the musical life of Britain and, according to the BBC, was Britain's first international conductor. Born to a rich industrial family, Beecham began his career as a conductor in 1899. He used his access to the family fortune to finance opera from the 1910s until the start of the Second World War, staging seasons at Covent Garden, Drury Lane and His Majesty's Theatre with international stars, his own orchestra and a wide repertoire. Among the works he introduced to England during his career were Richard Strauss's Elektra, Salome and Der Rosenkavalier and three operas by Frederick Delius. Together with his younger colleague Malcolm Sargent, Beecham founded the London Philharmonic, and he conducted its first performance at the Queen's Hall in 1932. In the 1940s, he worked for three years in the United States, where he was music director of the Seattle Symphony and conducted at the Metropolitan Opera. After his return to Britain, he founded the Royal Philharmonic in 1946 and conducted it until his death in 1961. Beecham's repertoire was eclectic, sometimes favouring lesser-known composers over famous ones. His specialities included composers whose works were neglected in Britain before he became their advocate, such as Delius and Berlioz. Other composers with whose music he was frequently associated were Haydn, Schubert, Sibelius and the composer he revered above all others, Mozart. The FULL wikipedia article can be found here: (http•••)/ / For Maya Mikolajczyk ~ MayaTatyana/
Carl Michael Bellman Berg Ridder Lund Bach Luys Milan Mozart Johan Helmich Roman Dahlgren Randel Mera Mudarra Fuenllana Pisador Visée Tárrega Sor Uhl Villa Lobos John Dowland Galliard Narváez Mézangeau Alhambra 1236 1500 1535 1638 1740 1928 1955 1960 1962 1964 1966 1967 1969 1975 1977 1980 1982 1989 1990 2000
Per-Olof Johnson plays his variations on Carl Michael Bellman's songs. Per-Olof Johnson +••.••(...)) Per-Olof Johnson began playing the guitar at the age of fourteen but only became seriously interested in the instrument after completing his military service. After studying with David Berg and Sven Hammarberg-Kritschevsky in Stockholm, he went to Vienna in 1955 to study with Karl Scheit for two years. He continued his studies for several more years, completing them in 1960-61 at the Schola Cantorun Basiliensis in Basle, Switzerland. In 1962 he came second in the Concours International de la Guitare in Paris. Per-Olof Johnson returned to Sweden and held a variety of positions in Malmø and Arvika as a guitar teacher. In 1966 he received an offer to work in Copenhagen, and two years later he was given The lectureship in classical guitar at the Royal Danish Concervatory. As Johnson still retained a part time position at the Malmø State Collage of Music, there began a sixteen-years period of commuting between Sweden and Danmark. In 1980 Per-Olof Johnson was knighted as "Ridder af Danneborg" by Queen Margarethe of Denmark. In July 1982 the Swedish authorities created a personal professorship for him at the University of Lund/Malmø State Collage of Music, the first of its kind in Sweden. For many years he performed widly throughout Europ and Scandinavia. At the same time he had established himself as Sweden's foremost classical guitar teacher and it is for this he is most widly known Gøran Søllscher is one of his many pupils.In 1989 he was invited to Yale Universaty School of Music as a research affiliate in notation, performance technique and transcriptions for lute and vihuela. His works: Gitarrskola del 1. Anderssons Musik - Malmö. Nybörjarskola för klassisk gitarr. Utgiven 1966. Lärarhandledning till gitarrskola del 1. Anderssons Musik / Malmö Gitarrskola del 2, Utgiven 1969. Anderssons Musik - Malmö. J S Bach: Sarabande - Gavotte 1 - Gavotte 2. Anderssons Musik - Malmö. Dessa tre vackra danssatser, original för cello, pietetsfullt förvandlade till väl klingande gitarrstycken. Bellmaniana. Anderssons Musik / Malmö Bulman: Pavan. Anderssons Musik - Malmö. Hilding Hallnäs: Partita amabile per chitarra. Anderssons Musik / Malmö Hilding Hallnäs: Preludier 1-12. 1967. Anderssons Musik / Malmö Hilding hallnäs: Strängaspel. 8 stycken för sologitarr. 1975. Anderssons Musik / Malmö Per-Olof Johnson: 30 folkvisor i arrangemang för gitarr. 1964. Anderssons Musik / Malmö René Mezangeau: Svit i a-moll 1638. Utgiven 1990. Anderssons Musik - Malmö. Luys Milan: 6 pavaner ur el Maestro 1535/6. Anderssons Musik / Malmö W A Mozart: 8 stycken för sologitarr. Anderssons Musik / Malmö Johan Helmich Roman: Assaggio 1740? Anderssons Musik - Malmö. Original för soloviolin. Transkription för gitarr 1977 av Per-Olof. 4 satser: A tempo giusto - Allegro - Andante - Bourré. Värmlandiana. Anderssons Musik - Malmö. Svit byggd på melodier ur Värmläningarna av F A Dahlgren/A Randel. Arrangerad och varierad av Per-Olof. Per-Olof Johnson: Det gyllene seklet, vihuelamusik i 1500-talets Spanien. Lunds Universitet - Musikhögskolan Malmö. Innehåller förutom uppförandepraxis gällande vihuelamusik som till exempel notation, taktus, tempo, proportion med mera, 26 transkriptioner av stycken av Milán, Valdebarrano, Mudarra, Narvaez, Fuenllana, Pisador och Milano (138 sidor Recordings: Per-Olof Johnson---EMI SCLP 1037: MILÁN; FANTASIA DE CONSONANCIAS Y REDOBLES MILÁN; PAVANAS V-VI BULMAN; A PAVAN DE VISÉE; SUITE D-MOLL BACH; SARABANDE-GAVOTTE I-II TÁRREGA; RECUERDOS DE LA ALHAMBRA TÁRREGA; LÁGRIMA SOR; ANDANTINO UHL; TANZ VILLA-LOBOS; PRELUDE NR 4 ALBENIZ, ASTURIAS-LEYENDA Per-Olof Johnson---EMI LP 34395: Luis Milan; FANTASIA NR 12 John Dowland; Master Piper's Pavan och Master Piper's Galliard NARVÁEZ; O GUARDAME LAS VACAS MUDARRA; GALLARDA MÉZANGEAU; SVIT I A-MOLL TÁRREGA; CAPRICHO ARABE SOR; ANDANTE MAESTOSO OP 11:6 VILLA-LOBOS; ETYD NR 11 HALLNÄS; PARTITA AMABILE PER CHITARRA Swedish Guitar Music---Caprice CAP 1236: PER-OLOF JOHNSON; BELLMANIANA ROMAN; ASAGIO (Transkription för altgitarr av Per-Olof Johnson) HALLNÄS; STRÄNGASPEL
John Cage Anton Webern Randel Richard Wagner Josquin Prez Larry Sitsky Igor Stravinsky Richard Strauss Arnold Schoenberg George Antheil Claude Debussy Elliott Carter Milton Babbitt György Ligeti Witold Lutosławski Luciano Berio Harry Partch Coleman 1945 1952 1988
✪✪✪✪✪ (http•••) ✪✪✪✪✪ What is AVANT-GARDE MUSIC? What does AVANT-GARDE MUSIC mean? AVANT-GARDE MUSIC meaning - AVANT-GARDE MUSIC definition - AVANT-GARDE MUSIC explanation. Source: Wikipedia.org article, adapted under (http•••) license. SUBSCRIBE to our Google Earth flights channel - (http•••) Avant-garde music is a form of music that is considered to be at the forefront of experimentation or innovation for its critique of existing aesthetic conventions, rejection of the status quo in favor of unique or original elements, and its intention to challenge or alienate audiences. The most commonly cited example is John Cage's 4'33" (1952), which instructs the performer(s) not to play their instrument(s) during the entire duration of the piece. Avant-garde music may be distinguished from experimental music by the way it adopts an extreme position within a certain tradition, whereas "experimental music" lies outside tradition. In a historical sense, some musicologists use the term "avant-garde music" for the radical compositions that succeeded the death of Anton Webern in 1945. Don Michael Randel writes that this period began with the work of Richard Wagner, whereas Edward Lowinsky cites Josquin des Prez. The term may also be used to refer to any other post-1945 tendency of modernist music not definable as experimental music, though sometimes including a type of experimental music characterized by the rejection of tonality. Although some modernist music is also avant-garde, a distinction can be made between the two categories. According to scholar Larry Sitsky, because the purpose of avant-garde music is necessarily political, social, and cultural critique, so that it challenges social and artistic values by provoking or goading audiences, composers such as Igor Stravinsky, Richard Strauss, Arnold Schoenberg, Anton Webern, George Antheil and Claude Debussy may reasonably be considered to have been avant-gardists in their early works (which were understood as provocative, whether or not the composers intended them that way), but the label is not really appropriate for their later music. For example, modernists of the post–World War II period, such as Elliott Carter, Milton Babbitt, György Ligeti, Witold Lutosławski, and Luciano Berio, never conceived their music for the purpose of goading an audience, and so cannot be classified as avant-garde. Composers such as John Cage and Harry Partch, on the contrary, remained avant-gardists throughout their creative careers. The 1960s saw a wave of avant-garde experimentation in popular jazz, represented by artists such as Ornette Coleman, Sun Ra, Albert Ayler, Archie Shepp, John Coltrane and Miles Davis. In the rock music of the 1970s, the "art" descriptor was generally understood to mean "aggressively avant-garde" or "pretentiously progressive". Post-punk artists from the late 1970s rejected traditional rock sensibilities in favor of an avant-garde aesthetic. In 1988 the writer Greg Tate described hip-hop music as "the only avant-garde around, still delivering the shock of the new."
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- cronologia: Compositori (Europa). Interpreti (Europa).
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