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Solist: Stefan Dohr, valthorn. Dirigent: Daniel Harding. Wolfgang Rihm: Hornkonsert. Gustav Mahler: Symfoni nr 9 D-dur. KonsertBerwaldhallen, Stockholm. Georges Enescu: Oktet. Mendelsshon: Oktet. Danske Musikkonservatorium, spiller Piazzolla. Camille2. Borrego2. Pjotr Csajkovszkij: V. Niemand minder dan Nikolaj Znaider, finalist van de Elisabeth Wedstrijd in speelt het vioolconcerto van Johannes Brahms.
Na de pauze trakteert Klara Live u op de 9de symfonie van Antonin Dvorak. Kristian Bezuidenhout, piano. Sala de concerts Bunka Kaikan. Concierto para violonchelo y orquesta en Re menor. Realizator Doina Constantinescu. Solist pianistul Christian Ihle Hadland. Serghei Prokofiev - Simfonia I op. Robert Schumann - Cvintetul cu pian op. Penderecki - Agnus Dei G. Kurtag - uit Jatekok S. Rachmaninoff - Delen uit de Vespers, op. An all-Beethoven concert celebrating the 60th birthday of Hugh Tinney, one of the leading interpreters of the music of Beethoven, in which he performs the composer's last Piano Concerto, the Emperor.
Andrew Manze Set in ancient times on the island of Ceylon, the opera tells the story of how two men's vow of eternal friendship is threatened by their love for the same woman, whose own dilemma is the conflict between secular love and her sacred oath as a priestess.
Nadir: Javier Camarena. Zurga: Mariusz Kwiecien. Metropolitan Opera Choir and Orchestra. Conductor: Emmanuel Villaume. Recorded 3 November. Dean: Piano Concerto No. Anna Lucia Richter, soprano.
Gerold Huber, piano. Francia 8. Andante Sostenuto - Béla Bartók / György Sándor - Solo Piano Works (CD) Zenekar, vez. Johannes Brahms: I. This week, Composer Of The Week puts that right. Barely a decade into the rule of Duke Alfonso II, the man who turned Ferrara into a cultural and political powerhouse, tragedy struck the city in as it was hit by a devastating earthquake.
Alfonso's accession had already resulted in the flowering of female singing at the court, but now, forced to entertain visiting royalty on the most threadbare of resources, the Duke commanded his finest female musicians to form an ensemble of their own - dazzling guests with their brilliant, shimmering vocal harmonies.
This first generation of singing ladies was to gain a pan-European reputation, and set the scene for the fabled "concerto delle donne" - highly-secretive concerts at which noblemen would be treated to an utterly unique, and mesmerising, musical performance. Donald Macleod explores the genesis of the ensemble with Renaissance music scholar Laurie Stras, concentrating today on the music of one of the age's most gifted composers: Giaches de Wert.
Oh Dio! Dirijor Mariss Jansons. Presented by Tom McKinney. Yu Shao tenor Rosa Jodie Devos soprano Patrick Jean-Yves Ravoux tenor Frantz Bohuslav Martinu: Concert per a violoncel i orquestra n. Simfonia n. Kvartetten Som Sprangde - Kattvals. Time left: 2d 15h 6m 29s Ships to: Worldwide. Time left: 2d 17h 37m 15s Ships to: Worldwide. Time left: 3d 6h 51m 42s Ships to: Worldwide.
Encore Eberhard Weber album. Encore is a live album by German jazz double bassist and composer Eberhard Weber recorded at various locations between and and released on the ECM label on 6 February Movimiento I: Allegro.
David Cassan org. Organista de Notre-Dame des Victoires de Paris. Recorded 5 October Solist, Lawrence Power, viola. James MacMillan: Violakonsert 2. Schumann: Symfoni nr. Wagner arr. Felicia Moore, sopran. DR SymfoniOrkestret. Dirigent: Ryan Wigglesworth. Andris Poga dirigerer Stavanger Symfoniorkester.
Eirik Os Simonsen er kveldens programleder. Direkte fra Stavanger Konserthus. Piotr Iljitsch Tschaikowsky: Streichquartett Nr. Eenmaal daar aangekomen, was Bach zo onder de indruk van Buxtehudes persoonlijkheid en muziek, dat hij er langer bleef dan gepland en hierdoor zijn baan als organist op het spel zette. Carl Maria von Weber: Quintet amb clarinet en Si b, op. Eric Hoeprich, clarinet. London Haydn Quartet. Dirijor Rinaldo Alessandrini.
Wolfgang Amadeus Mozart - Simfonia nr. Johannes Brahms - Sextetul nr. Max Bruch - 6 chants op 86 pour choeur mixte a cappella 1. Kleine Maria. De tous les printemps du monde 2. Aussi bas que le silence 4. Toi ma patiente 5. La menace sous le ciel rouge 8. Kyrie 2. Gloria 3. Credo 4. Sanctus 5. Vanwege de maatregelen tegen de verspreiding van Corona vindt het festival dit keer online plaats met in de programmering cellisten uit Nederland.
Gedurende de dag zijn de concerten live te volgen via een livestream. Het Avondconcert komt live vanuit het Muziekgebouw aan het IJ waar we het concert van die avond live uitzenden, gevolgd door opnames die eerder tijdens het festival zijn gemaakt. Amsterdam Sinfonietta: Iraanse samenwerking en veel symboliek Veel symboliek en grote gevoelens in deze drie totaal verschillende klankwerelden voor cello en strijkers.
Twee Iraanse grootmeesters op hun instrument, kamanchehspeler Kayhan Kalhor en de jonge Iraanse, in Oostenrijk geboren cellist Kian Soltani, slaan de handen ineen voor een nieuw dubbelconcert van jazzpianist Rembrandt Frerichs. Amsterdam Sinfonietta: Iraanse samenwerking en veel symboliek De Martijn Padding Show Festivalcomponist Martijn Padding is zelf de presentator van dit programma en onze gids in zijn eigen klinkend universum.
Martijn Padding is ook een veelgezochte docent voor jong compositietalent uit de hele wereld. Molto cantabile Giya Kancheli Lulling the sun, per coro a 6 parti e percussioni Sofia Gubajdulina Sonnengesang Cantico del Sole per violoncello celesta percussioni e coro misto su testo di S. In a typically enticing programme, Salonen contrasts Ravel's refined depiction of innocent childhood and fairy tale with the darker, dreamlike world of Britten's Les illuminations.
Britten's brilliant settings of Arthur Rimbaud's cryptic and sometimes obscure poetry are sung by American soprano Julia Bullock, who tonight makes her Royal Festival Hall debut, having already performed Les illuminations with Salonen in the US to great acclaim.
Over lockdown, the young musicians of the NYO immersed themselves in the context and history of music by Black composers, and researched music by a wider range of compositional voices to share with others. He was still dissatisfied with this new amalgam of elements, and only fully orchestrated the third movement, a Scherzo. There were substantial residencies in Vienna, Berlin and Pozsony, as well as Budapest, and he spent August and September in Paris, where he participated unsuccessfully in the Rubinstein competition both as composer where no award was made and pianist where Backhaus gained the prize.
He became tenured in and remained at the Academy which in was renamed the Liszt Academy until One exception was his only appearance as a conductor, with the Berlin PO on 2 Januarywhen he directed a movement of his Second Suite.
He realized that his compositional style still lacked originality and unity. His Suite no. The Second Suite op. While its first three movements, written incling to national Romantic tenets, with a strong Lisztian influence in the second movement, its fourth and final movement, composed incommences with a short, pentatonic tune, and unveils a stark, spare texture, which he would develop in succeeding compositions. So began an enduring artistic, scholarly and personal relationship, which sometimes rivalled that of the Schoenberg—Webern—Berg school in intensity but lacked its master-student characteristics.
This collection appeared in Decemberbut drew a scant response from the Hungarian public. The rural peasants, however, he came to idealize as the conveyors of the pure musical instincts of the nation. Hence, he soon found himself becoming interested in. As early as he started to collect Slovak folk music, followed in by Romanian, and he later collected much smaller numbers of Ruthenian, Serbian and Bulgarian tunes.
He became fascinated not just with the transcription, analysis and classification of the many tunes he collected, but also with the comparisons between these different peasant musics and their dialects. There, among the older people, he found many examples of anhemitonic lacking semitones pentatonic tunes and came to realize the pentatonic basis of much of the oldest stratum of Hungarian folk music. Folk music was not just a fertile field for arrangements, 8. Andante Sostenuto - Béla Bartók / György Sándor - Solo Piano Works (CD) also introduced a wealth of melodic, rhythmic, textural and formal models which might creatively be transformed, or transcended, in original composition.
While still travelling in Transylvania he worked on the fourth movement of his Second Suite, with its pentatonic melody. Of these latter, three are parlando rubato with tales of sadness — the betrayed lover, the unhappily 8. Andante Sostenuto - Béla Bartók / György Sándor - Solo Piano Works (CD) woman, farewell — while the two tempo giusto songs are humorous. Between passionate outpourings to her in a series of intimate letters about the meaning of life, religion and love, he was drafting a work of three movements.
Indeed, after this early Violin Concerto none of his works escapes a strong folk influence. The Fourteen Bagatelles op. Any sense of functional harmony is persistently undermined by the use of ostinato figures nos. In pieces where dominant—tonic relations are invoked, they are soon subverted by dissonance no. Two of the pieces directly quote folksongs, an old Hungarian tune no. Over the following 15 years she proved his worthy assistant as a copyist, translator and occasional folksong-collecting companion.
The First String Quartet op. Although it betrays many disparate 8. Andante Sostenuto - Béla Bartók / György Sándor - Solo Piano Works (CD) it is remarkably coherent. The finale establishes the brusque, folk-like style used in the concluding movements of many later chamber works.
The quartet was first performed on. The intervening op. He also managed to characterize the protagonists modally: Bluebeard through smooth, pentatonic lines; Judith through more chromatic and angular writing. His efforts in to assist the formation of a New Hungarian Musical Society had, he felt, been futile, and he resigned from it in February He did not engage in serious composition inand saw no point in orchestrating his four op.
Songs were then ordered according to the cadence patterns of each verse. Further differentiation was possible according to cadence types and 8. Andante Sostenuto - Béla Bartók / György Sándor - Solo Piano Works (CD) ranges. During Junehowever, his comparative ethnomusicological interests drew him to north Africa, where among the Berber people around the oasis town of Biskra now in Algeria he experienced a folk music strikingly different from that of eastern Europe, in the narrower range and changeability of its scales and the almost constant drumming which accompanied most strict-time melodies.
For several months, as the Russians made incursions into the eastern provinces of Hungary, there were fears that even Budapest would be attacked; folk-music collecting became impossible.
The period —17, by turn, was fruitful with three sets of Slovak folksongs for a variety of vocal resources BB73, 77, Indeed, his isolation led to a more unified and concentrated compositional approach. With his three-movement Second String Quartet op. The Piano Suite op.
The quality of the poetry differs greatly between the works. The op. They exhibit a characteristic melancholy, with autumnal themes of isolation, loss and despair. The idea of this ballet had grown out of the visit of the Ballets Russes to Budapest in Its music, as its plot, portrays the constant tension between the ideal prince and the grotesque puppet, who share the same thematic material.
The last years of the s witnessed widespread political and social dislocation in Hungary. Meanwhile, the Austro-Hungarian Empire had collapsed. For some years national tensions in the region ensured the unviability of collecting expeditions. The remainder of his life was largely devoted to analyzing and categorizing his existing collection, which by numbered about 10, melodies including 3, Romanian, 3, Slovak and 2, Hungarianor to comparative studies involving knowledge of a large number of mainly eastern European collections.
Yet he did think of settling abroad, with a first preference for Transylvania by then part of Romaniafollowed by Austria or Germany. Of greater day-to-day significance to him was the continuation of sabbatical leave from the Academy of Music and of his attachment to the ethnographic department of the National Museum, both of which ceased in mid In he also had to fend off the first of several challenges in the press from the Hungarian right wing that, through his recent folk-music work, he was a supporter of the Romanian national cause and a traitor to Hungary.
This did not stop him in later years being accused by the Romanian authorities of being a Hungarian revisionist. It was a continual frustration to him, then, that this work, which he considered one of his finest compositions, so languished, while The Wooden Prince, a work he soon came to dislike, was staged more frequently. With Mandarin and its immediate predecessor, the Three Studies op.
However, though these works of —2 show further merging of folk-derived ideas and atonality, it is difficult to consider them in a key. Moreover, despite their titles, they only pay lip-service to traditional sonata principles. The first movement of the three-movement First Sonata adopts such a strongly variational approach to thematic materials that the point of recapitulation loses its traditional force.
It appeared in German the following year, and in in English with the title Hungarian Folk Music. He then immediately moved to prepare a volume of Romanian Christmas songs, which occupied much of his time from late until April After many trials, only the musical part of this study appeared in a self-funded edition in Amid the revolutionary atmosphere of —19 he had unexpectedly re-emerged onto the concert platform, after seven years of virtual absence, with a willingness to perform in chamber, orchestral soloist and recitalist roles.
One of his first Budapest concerts, on 21 Aprilintroduced his wartime compositions opp. Over the next 12 years he took part in over concerts in 15 different countries. He also quickly took advantage of the promotional, as well as much-needed monetary, opportunities in. Already by February he had re-established a performing connection with Berlin, where the conductor Hermann Scherchen and the theatrical entrepreneur Max Reinhardt sought to aid his cause.
He became a staunch supporter of the ISCM; during the s and 8. Andante Sostenuto - Béla Bartók / György Sándor - Solo Piano Works (CD) many of his pieces were performed, some for the first time, at its annual festivals. He served on its first festival jury inand was nominated to convene the aborted Budapest Festival. It employs idealized peasant musics in its six movements, which are played without a break and connected by a ritornello theme in a serene Hungarian style.
The later movements reflect a growing stylistic internationalism, culminating in the colourful medley of the sixth movement.
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