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Arnold Schoenberg: Verklärte Nacht
Norwegian Chamber Orchestra
Terje Tønnesen, leader
Bud Beyer, stage direction
Produced by GSOplay, Måns Pär Fogelberg, Josef Atlestam, Simon Dybeck and Per Göran
Recorded live at Gothenburg Concert Hall
Stay connected with us!
► Subscribe to our Youtube channel: https://bit.ly/2r9tVde
► Follow us on Facebook: https://www.facebook.com/detnorskekam...
► Follow us on Instagram: https://www.instagram.com/detnorskeka...
► Follow us on Twitter: https://twitter.com/kammerorkester
published: 03 Feb 2014
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Schoenberg: Verklärte Nacht, Op.4 - Boulez.
Arnold Schoenberg (1874-1951): Verklärte Nacht (Transfigured Night / La Nuit transfigurée), Op.4 (1899)
Pierre Boulez: Membres de L'Ensemble Intercontemporain
Charles-André Linale: violin / violon
Maryvonne Le Dizès-Richard: violin / violon
Jean Sulem: viola / alto
Garth Knox: viola / alto
Philippe Muller: cello / violoncelle
Pieter Strauch: cello / violoncelle
published: 12 Nov 2011
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Schoenberg explained in 10 Minutes
Composer Samuel Andreyev presents a concise introduction to the work of Austrian composer Arnold Schoenberg (1874-1951), one of the most controversial composers of the modern period.
SUPPORT THIS CHANNEL:
http://www.samuelandreyev.com/donate
http://www.patreon.com/samuelandreyev
I OFFER SKYPE LESSONS IN COMPOSITION AND ANALYSIS!
Send an email to samuel (dot) andreyev (at) gmail.com for more information
NEW ALBUM OUT NOW
Order a physical copy: https://www.kairos-music.com/cds/0015025kai
Listen on Spotify: https://open.spotify.com/album/42kfmsjGZyNDo4nrVNHkvP?si=V4imzn9MRQOHvJBvKPjTAA
Listen on iTunes: https://itunes.apple.com/fr/album/samuel-andreyev-music-with-no-edges/1446778654
Samuel Andreyev's website: http://www.samuelandreyev.com
Follow Samuel on Twitter: http://www.twitter.co...
published: 20 May 2019
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Arnold Schoenberg: Pierrot Lunaire
Arnold Schoenberg or Schönberg (September 13th 1874 – July 13th 1951) He was an Austrian composer and painter, associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. With the rise of the Nazi Party, by 1938 Schoenberg's works were labelled as degenerate music because he was Jewish (Anon. 1997–2013); he moved to the United States in 1934.
Schoenberg's approach, both in terms of harmony and development, has been one of the most influential of 20th-century musical thought. Many European and American composers from at least three generations have consciously extended his thinking, whereas others have passionately reacted against it.
Schoenberg was known early in his career for simultaneously extending the traditionally opposed ...
published: 02 Mar 2015
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Arnold Schönberg - Kammersinfonie Nr. 1 op. 9 | Cristian Măcelaru | WDR Sinfonieorchester
Arnold Schönbergs "Kammersinfonie Nr. 1 op. 9 für 15 Solo-Instrumente", gespielt vom WDR Sinfonieorchester unter der Leitung von Cristian Măcelaru am 06. Februar 2021 in der Kölner Philharmonie.
WDR Sinfonieorchester
Christian Măcelaru, Leitung
In seiner Reihe "Kurz und Klassik" spricht Chefdirigent Cristian Măcelaru über Schönbergs Kammersinfonie: https://youtu.be/A40oT9iIX6k
► Mehr zum Sinfonieorchester, zu Konzerten und aktuellen Livestreams gibt es bei https://www.wdr-sinfonieorchester.de
► Das WDR Sinfonieorchester bei Facebook https://www.facebook.com/wdrsinfonieorchester
○ Werkeinführung
Die eröffnende Quarten-Fanfare von Arnold Schönbergs (1874 – 1951) Kammersinfonie Nr. 1 op. 9 gilt als eine Art Aufbruchssignalder Neuen Musik. Wie der ungewöhnliche Titel verrät, kombiniert da...
published: 18 Feb 2021
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Arnold Schoenberg: A Survivor from Warsaw
Arnold Schoenberg's cantata performed by Bamberger Symphoniker, conducted by Horst Stein, Hermann Prey (narrator. Score published by Bomart Music Publications and Belmont Music Publications.
published: 07 Feb 2007
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Peripetie - Arnold Schoenberg
A GCSE music presentation on the expressionist piece 'Peripetie', by Arnold Schoenberg.
published: 26 Jan 2010
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Arnold Schönberg: Pélleas und Melisande op.5 (1903)
Arnold Schönberg (1874-1951): Pélleas und Melisande, poema sinfonico op.5 (1903) -- Sinfonie-Orchester des Südwestfunks Baden-Baden diretta da Bruno Maderna (dal vivo: Baden-Baden 5 maggio 1960) --
I. Anfang
II. Heftig
III. Lebhaft
IV. Sehr rasch
V. Ein wening bewegter
VI. Langsam
VII. Ein wening bewegter
VIII. Sehr langsam
IX. Etwas bewegter
X. In gehender Bewegung
XI. Breit
-- cover image by Winifred Sandys
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please...
published: 05 Jan 2012
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Toy Piano Stories
Presentazione del cd Toy Piano Stories, di Morena Mestieri e Anna Bellagamba (Produzioni dal Bosco, 2023)
Interventi di Anna Bellagamba e Morena Mestieri (interpreti), Andrea Biagioli (produttore), Mauro Cardi, Paolo Ricci, Gianluca Deserti (compositori)
Portato sul palcoscenico per la prima volta da John Cage nel 1948, il toypiano – pianoforte giocattolo – si è costruito negli anni un suo piccolo repertorio. In questo CD Morena Mestieri e Anna Bellagamba si concentrano sul repertorio per flauto e toypiano, con un nutrito gruppo di nuove composizioni di autori italiani: "Toy (Piano) Stories" di Mauro Cardi, "A Tale from the North" di Andrea Biagioli, "Catalogo immaginario" di Paolo Ricci e "Adagio des Würfelspiels" di Gianluca Deserti. A questi si affiancano "The Sound of the Sea" della ...
published: 09 Mar 2024
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Schoenberg: Suite for Piano, Op.25 (Boffard)
An intensely nuanced and perky performance of one of Schoenberg’s earliest 12-tone works (the prelude and gavotte might actually be the first 12-tone piece Schoenberg ever wrote). The Suite for Piano has had a rather undeserved reputation as an academically strict work: in fact, it is expressive and vivid, and full of life. For a start, the tone row of the suite E–F–G–D♭–G♭–E♭–A♭–D–B–C–A–B♭ contains a rather cheeky cryptogram of BACH (the last 4 notes are BACH spelled backward), and the HCAB sequence recurs as the root of tetrachord sequences throughout the suite. Schoenberg’s use of serialism is also quite free and consistently creative: the tone row is used as both melody and accompaniment in the Prelude (transposed by a tritone in the bass to avoid note repeats), the Gavotte uses pitche...
published: 14 Aug 2016
31:01
Arnold Schoenberg: Verklärte Nacht
Norwegian Chamber Orchestra
Terje Tønnesen, leader
Bud Beyer, stage direction
Produced by GSOplay, Måns Pär Fogelberg, Josef Atlestam, Simon Dybeck and Per Gö...
Norwegian Chamber Orchestra
Terje Tønnesen, leader
Bud Beyer, stage direction
Produced by GSOplay, Måns Pär Fogelberg, Josef Atlestam, Simon Dybeck and Per Göran
Recorded live at Gothenburg Concert Hall
Stay connected with us!
► Subscribe to our Youtube channel: https://bit.ly/2r9tVde
► Follow us on Facebook: https://www.facebook.com/detnorskekam...
► Follow us on Instagram: https://www.instagram.com/detnorskeka...
► Follow us on Twitter: https://twitter.com/kammerorkester
https://wn.com/Arnold_Schoenberg_VerkläRte_Nacht
Norwegian Chamber Orchestra
Terje Tønnesen, leader
Bud Beyer, stage direction
Produced by GSOplay, Måns Pär Fogelberg, Josef Atlestam, Simon Dybeck and Per Göran
Recorded live at Gothenburg Concert Hall
Stay connected with us!
► Subscribe to our Youtube channel: https://bit.ly/2r9tVde
► Follow us on Facebook: https://www.facebook.com/detnorskekam...
► Follow us on Instagram: https://www.instagram.com/detnorskeka...
► Follow us on Twitter: https://twitter.com/kammerorkester
- published: 03 Feb 2014
- views: 379153
29:26
Schoenberg: Verklärte Nacht, Op.4 - Boulez.
Arnold Schoenberg (1874-1951): Verklärte Nacht (Transfigured Night / La Nuit transfigurée), Op.4 (1899)
Pierre Boulez: Membres de L'Ensemble Intercontemporain
...
Arnold Schoenberg (1874-1951): Verklärte Nacht (Transfigured Night / La Nuit transfigurée), Op.4 (1899)
Pierre Boulez: Membres de L'Ensemble Intercontemporain
Charles-André Linale: violin / violon
Maryvonne Le Dizès-Richard: violin / violon
Jean Sulem: viola / alto
Garth Knox: viola / alto
Philippe Muller: cello / violoncelle
Pieter Strauch: cello / violoncelle
https://wn.com/Schoenberg_Verklärte_Nacht,_Op.4_Boulez.
Arnold Schoenberg (1874-1951): Verklärte Nacht (Transfigured Night / La Nuit transfigurée), Op.4 (1899)
Pierre Boulez: Membres de L'Ensemble Intercontemporain
Charles-André Linale: violin / violon
Maryvonne Le Dizès-Richard: violin / violon
Jean Sulem: viola / alto
Garth Knox: viola / alto
Philippe Muller: cello / violoncelle
Pieter Strauch: cello / violoncelle
- published: 12 Nov 2011
- views: 4272172
13:38
Schoenberg explained in 10 Minutes
Composer Samuel Andreyev presents a concise introduction to the work of Austrian composer Arnold Schoenberg (1874-1951), one of the most controversial composers...
Composer Samuel Andreyev presents a concise introduction to the work of Austrian composer Arnold Schoenberg (1874-1951), one of the most controversial composers of the modern period.
SUPPORT THIS CHANNEL:
http://www.samuelandreyev.com/donate
http://www.patreon.com/samuelandreyev
I OFFER SKYPE LESSONS IN COMPOSITION AND ANALYSIS!
Send an email to samuel (dot) andreyev (at) gmail.com for more information
NEW ALBUM OUT NOW
Order a physical copy: https://www.kairos-music.com/cds/0015025kai
Listen on Spotify: https://open.spotify.com/album/42kfmsjGZyNDo4nrVNHkvP?si=V4imzn9MRQOHvJBvKPjTAA
Listen on iTunes: https://itunes.apple.com/fr/album/samuel-andreyev-music-with-no-edges/1446778654
Samuel Andreyev's website: http://www.samuelandreyev.com
Follow Samuel on Twitter: http://www.twitter.com/samuelandreyev
The Samuel Andreyev Podcast: https://www.buzzsprout.com/266909
https://wn.com/Schoenberg_Explained_In_10_Minutes
Composer Samuel Andreyev presents a concise introduction to the work of Austrian composer Arnold Schoenberg (1874-1951), one of the most controversial composers of the modern period.
SUPPORT THIS CHANNEL:
http://www.samuelandreyev.com/donate
http://www.patreon.com/samuelandreyev
I OFFER SKYPE LESSONS IN COMPOSITION AND ANALYSIS!
Send an email to samuel (dot) andreyev (at) gmail.com for more information
NEW ALBUM OUT NOW
Order a physical copy: https://www.kairos-music.com/cds/0015025kai
Listen on Spotify: https://open.spotify.com/album/42kfmsjGZyNDo4nrVNHkvP?si=V4imzn9MRQOHvJBvKPjTAA
Listen on iTunes: https://itunes.apple.com/fr/album/samuel-andreyev-music-with-no-edges/1446778654
Samuel Andreyev's website: http://www.samuelandreyev.com
Follow Samuel on Twitter: http://www.twitter.com/samuelandreyev
The Samuel Andreyev Podcast: https://www.buzzsprout.com/266909
- published: 20 May 2019
- views: 108454
1:41
Arnold Schoenberg: Pierrot Lunaire
Arnold Schoenberg or Schönberg (September 13th 1874 – July 13th 1951) He was an Austrian composer and painter, associated with the expressionist movement in Ge...
Arnold Schoenberg or Schönberg (September 13th 1874 – July 13th 1951) He was an Austrian composer and painter, associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. With the rise of the Nazi Party, by 1938 Schoenberg's works were labelled as degenerate music because he was Jewish (Anon. 1997–2013); he moved to the United States in 1934.
Schoenberg's approach, both in terms of harmony and development, has been one of the most influential of 20th-century musical thought. Many European and American composers from at least three generations have consciously extended his thinking, whereas others have passionately reacted against it.
Schoenberg was known early in his career for simultaneously extending the traditionally opposed German Romantic styles of Brahms and Wagner. Later, his name would come to personify innovations in atonality (although Schoenberg himself detested that term) that would become the most polemical feature of 20th-century art music. In the 1920s, Schoenberg developed the twelve-tone technique, an influential compositional method of manipulating an ordered series of all twelve notes in the chromatic scale. He also coined the term developing variation and was the first modern composer to embrace ways of developing motifs without resorting to the dominance of a centralized melodic idea.
Schoenberg was also a painter, an important music theorist, and an influential teacher of composition; his students included Alban Berg, Anton Webern, Hanns Eisler, Egon Wellesz, and later John Cage, Lou Harrison, Earl Kim, Leon Kirchner, and other prominent musicians. Many of Schoenberg's practices, including the formalization of compositional method and his habit of openly inviting audiences to think analytically, are echoed in avant-garde musical thought throughout the 20th century. His often polemical views of music history and aesthetics were crucial to many significant 20th-century musicologists and critics, including Theodor W. Adorno, Charles Rosen and Carl Dahlhaus, as well as the pianists Artur Schnabel, Rudolf Serkin, Eduard Steuermann and Glenn Gould.
https://wn.com/Arnold_Schoenberg_Pierrot_Lunaire
Arnold Schoenberg or Schönberg (September 13th 1874 – July 13th 1951) He was an Austrian composer and painter, associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. With the rise of the Nazi Party, by 1938 Schoenberg's works were labelled as degenerate music because he was Jewish (Anon. 1997–2013); he moved to the United States in 1934.
Schoenberg's approach, both in terms of harmony and development, has been one of the most influential of 20th-century musical thought. Many European and American composers from at least three generations have consciously extended his thinking, whereas others have passionately reacted against it.
Schoenberg was known early in his career for simultaneously extending the traditionally opposed German Romantic styles of Brahms and Wagner. Later, his name would come to personify innovations in atonality (although Schoenberg himself detested that term) that would become the most polemical feature of 20th-century art music. In the 1920s, Schoenberg developed the twelve-tone technique, an influential compositional method of manipulating an ordered series of all twelve notes in the chromatic scale. He also coined the term developing variation and was the first modern composer to embrace ways of developing motifs without resorting to the dominance of a centralized melodic idea.
Schoenberg was also a painter, an important music theorist, and an influential teacher of composition; his students included Alban Berg, Anton Webern, Hanns Eisler, Egon Wellesz, and later John Cage, Lou Harrison, Earl Kim, Leon Kirchner, and other prominent musicians. Many of Schoenberg's practices, including the formalization of compositional method and his habit of openly inviting audiences to think analytically, are echoed in avant-garde musical thought throughout the 20th century. His often polemical views of music history and aesthetics were crucial to many significant 20th-century musicologists and critics, including Theodor W. Adorno, Charles Rosen and Carl Dahlhaus, as well as the pianists Artur Schnabel, Rudolf Serkin, Eduard Steuermann and Glenn Gould.
- published: 02 Mar 2015
- views: 237977
22:49
Arnold Schönberg - Kammersinfonie Nr. 1 op. 9 | Cristian Măcelaru | WDR Sinfonieorchester
Arnold Schönbergs "Kammersinfonie Nr. 1 op. 9 für 15 Solo-Instrumente", gespielt vom WDR Sinfonieorchester unter der Leitung von Cristian Măcelaru am 06. Februa...
Arnold Schönbergs "Kammersinfonie Nr. 1 op. 9 für 15 Solo-Instrumente", gespielt vom WDR Sinfonieorchester unter der Leitung von Cristian Măcelaru am 06. Februar 2021 in der Kölner Philharmonie.
WDR Sinfonieorchester
Christian Măcelaru, Leitung
In seiner Reihe "Kurz und Klassik" spricht Chefdirigent Cristian Măcelaru über Schönbergs Kammersinfonie: https://youtu.be/A40oT9iIX6k
► Mehr zum Sinfonieorchester, zu Konzerten und aktuellen Livestreams gibt es bei https://www.wdr-sinfonieorchester.de
► Das WDR Sinfonieorchester bei Facebook https://www.facebook.com/wdrsinfonieorchester
○ Werkeinführung
Die eröffnende Quarten-Fanfare von Arnold Schönbergs (1874 – 1951) Kammersinfonie Nr. 1 op. 9 gilt als eine Art Aufbruchssignalder Neuen Musik. Wie der ungewöhnliche Titel verrät, kombiniert das Werk zwei bislang strikt voneinander getrennte Welten: Sinfonie und Kammermusik. Damit wandte sich Schönberg vom großen Umfang spätromantischer Werke ab und setzt auf ein gemischtes Ensemble aus (Holz-)Bläsern und Streichinstrumenten. Die Besetzung sorgt für klangliche Prägnanz und Transparenz. Durch den unterschiedlichen Charakter der Instrumente sind alle Stimmen klar heraushörbar. Jede*r der solistisch geforderten 15 Musiker* innen nimmt am musikalischen Geschehen teil, ist gleich wichtig.
Die Wiener Uraufführung am 8. Februar 1907 mit dem Rosé-Quartett und Mitgliedern des Wiener Hofopernorchesters wurde allerdings zum Skandal. »Viele stahlen sich vor Schluss dieses Stückes lachend aus dem Bund, viele zischten und pfiffen«, berichtete das »Illustrierte Wiener Extrablatt«. Überhaupt mache Schönbergs Komposition, so ist dort weiter zu lesen, »wilde, ungepflegte Demokratengeräusche, die kein vornehmer Mensch mit Musik verwechseln kann«. Heute gehört seine erste Kammersinfonie freilich zu den unumstößlichen Klassikern des frühen 20. Jahrhunderts.
(Text: Matthias Corvin)
https://wn.com/Arnold_Schönberg_Kammersinfonie_Nr._1_Op._9_|_Cristian_Măcelaru_|_Wdr_Sinfonieorchester
Arnold Schönbergs "Kammersinfonie Nr. 1 op. 9 für 15 Solo-Instrumente", gespielt vom WDR Sinfonieorchester unter der Leitung von Cristian Măcelaru am 06. Februar 2021 in der Kölner Philharmonie.
WDR Sinfonieorchester
Christian Măcelaru, Leitung
In seiner Reihe "Kurz und Klassik" spricht Chefdirigent Cristian Măcelaru über Schönbergs Kammersinfonie: https://youtu.be/A40oT9iIX6k
► Mehr zum Sinfonieorchester, zu Konzerten und aktuellen Livestreams gibt es bei https://www.wdr-sinfonieorchester.de
► Das WDR Sinfonieorchester bei Facebook https://www.facebook.com/wdrsinfonieorchester
○ Werkeinführung
Die eröffnende Quarten-Fanfare von Arnold Schönbergs (1874 – 1951) Kammersinfonie Nr. 1 op. 9 gilt als eine Art Aufbruchssignalder Neuen Musik. Wie der ungewöhnliche Titel verrät, kombiniert das Werk zwei bislang strikt voneinander getrennte Welten: Sinfonie und Kammermusik. Damit wandte sich Schönberg vom großen Umfang spätromantischer Werke ab und setzt auf ein gemischtes Ensemble aus (Holz-)Bläsern und Streichinstrumenten. Die Besetzung sorgt für klangliche Prägnanz und Transparenz. Durch den unterschiedlichen Charakter der Instrumente sind alle Stimmen klar heraushörbar. Jede*r der solistisch geforderten 15 Musiker* innen nimmt am musikalischen Geschehen teil, ist gleich wichtig.
Die Wiener Uraufführung am 8. Februar 1907 mit dem Rosé-Quartett und Mitgliedern des Wiener Hofopernorchesters wurde allerdings zum Skandal. »Viele stahlen sich vor Schluss dieses Stückes lachend aus dem Bund, viele zischten und pfiffen«, berichtete das »Illustrierte Wiener Extrablatt«. Überhaupt mache Schönbergs Komposition, so ist dort weiter zu lesen, »wilde, ungepflegte Demokratengeräusche, die kein vornehmer Mensch mit Musik verwechseln kann«. Heute gehört seine erste Kammersinfonie freilich zu den unumstößlichen Klassikern des frühen 20. Jahrhunderts.
(Text: Matthias Corvin)
- published: 18 Feb 2021
- views: 28839
8:22
Arnold Schoenberg: A Survivor from Warsaw
Arnold Schoenberg's cantata performed by Bamberger Symphoniker, conducted by Horst Stein, Hermann Prey (narrator. Score published by Bomart Music Publications a...
Arnold Schoenberg's cantata performed by Bamberger Symphoniker, conducted by Horst Stein, Hermann Prey (narrator. Score published by Bomart Music Publications and Belmont Music Publications.
https://wn.com/Arnold_Schoenberg_A_Survivor_From_Warsaw
Arnold Schoenberg's cantata performed by Bamberger Symphoniker, conducted by Horst Stein, Hermann Prey (narrator. Score published by Bomart Music Publications and Belmont Music Publications.
- published: 07 Feb 2007
- views: 556611
2:10
Peripetie - Arnold Schoenberg
A GCSE music presentation on the expressionist piece 'Peripetie', by Arnold Schoenberg.
A GCSE music presentation on the expressionist piece 'Peripetie', by Arnold Schoenberg.
https://wn.com/Peripetie_Arnold_Schoenberg
A GCSE music presentation on the expressionist piece 'Peripetie', by Arnold Schoenberg.
- published: 26 Jan 2010
- views: 516564
47:42
Arnold Schönberg: Pélleas und Melisande op.5 (1903)
Arnold Schönberg (1874-1951): Pélleas und Melisande, poema sinfonico op.5 (1903) -- Sinfonie-Orchester des Südwestfunks Baden-Baden diretta da Bruno Maderna (da...
Arnold Schönberg (1874-1951): Pélleas und Melisande, poema sinfonico op.5 (1903) -- Sinfonie-Orchester des Südwestfunks Baden-Baden diretta da Bruno Maderna (dal vivo: Baden-Baden 5 maggio 1960) --
I. Anfang
II. Heftig
III. Lebhaft
IV. Sehr rasch
V. Ein wening bewegter
VI. Langsam
VII. Ein wening bewegter
VIII. Sehr langsam
IX. Etwas bewegter
X. In gehender Bewegung
XI. Breit
-- cover image by Winifred Sandys
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
https://wn.com/Arnold_Schönberg_Pélleas_Und_Melisande_Op.5_(1903)
Arnold Schönberg (1874-1951): Pélleas und Melisande, poema sinfonico op.5 (1903) -- Sinfonie-Orchester des Südwestfunks Baden-Baden diretta da Bruno Maderna (dal vivo: Baden-Baden 5 maggio 1960) --
I. Anfang
II. Heftig
III. Lebhaft
IV. Sehr rasch
V. Ein wening bewegter
VI. Langsam
VII. Ein wening bewegter
VIII. Sehr langsam
IX. Etwas bewegter
X. In gehender Bewegung
XI. Breit
-- cover image by Winifred Sandys
----
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly.
Your collaboration will be appreciated.
- published: 05 Jan 2012
- views: 545544
1:00:32
Toy Piano Stories
Presentazione del cd Toy Piano Stories, di Morena Mestieri e Anna Bellagamba (Produzioni dal Bosco, 2023)
Interventi di Anna Bellagamba e Morena Mestieri (inte...
Presentazione del cd Toy Piano Stories, di Morena Mestieri e Anna Bellagamba (Produzioni dal Bosco, 2023)
Interventi di Anna Bellagamba e Morena Mestieri (interpreti), Andrea Biagioli (produttore), Mauro Cardi, Paolo Ricci, Gianluca Deserti (compositori)
Portato sul palcoscenico per la prima volta da John Cage nel 1948, il toypiano – pianoforte giocattolo – si è costruito negli anni un suo piccolo repertorio. In questo CD Morena Mestieri e Anna Bellagamba si concentrano sul repertorio per flauto e toypiano, con un nutrito gruppo di nuove composizioni di autori italiani: "Toy (Piano) Stories" di Mauro Cardi, "A Tale from the North" di Andrea Biagioli, "Catalogo immaginario" di Paolo Ricci e "Adagio des Würfelspiels" di Gianluca Deserti. A questi si affiancano "The Sound of the Sea" della compositrice giapponese Rica Narimoto, e un’originale trascrizione di una delle "Children’s Songs" di Chick Corea. Sono invece per toypiano solo i tre "Prés" ("Précieux, "Prétentieux" e "Pernicieux") di Stefano Gervasoni. Infine completa il programma una nuova versione del celebre "Tierkreis" (Zodiaco) di Karlheinz Stockhausen, nella quale il timbro cristallino del toypiano sembra ricondurci alla versione originale del 1975 per carillons, mentre il flauto sembra abbracciare e sorreggere, con la sua ampia estensione e la sua ricca capacità espressiva, il suo piccolo compagno di viaggio. Uscito nell’ottobre 2023, il CD "Toy Piano Stories" è prodotto in edizione solo digitale da Produzioni dal Bosco, una etichetta indipendente di produzione discografica immersa nei boschi dell’Appennino tosco emiliano.
Anna Bellagamba e Morena Mestieri, musiciste di lunga esperienza sia in campo cameristico sia in ambito sinfonico e teatrale, suonano insieme da diversi anni. In duo e in trio con oboe si sono dedicate in modo particolare alla musica del nostro tempo, realizzando diverse produzioni discografiche, e progetti multimediali che coinvolgono l’arte visiva e la recitazione. Partecipano regolarmente a rassegne concertistiche e festival, le loro esecuzioni sono state in più occasioni trasmesse dalla RAI, tra cui numerosi brani in prima assoluta. Dal 2020 hanno iniziato ad interessarsi al repertorio per flauto e toypiano, commissionando opere originali per questo organico, e realizzando trascrizioni e adattamenti anche in forma di spettacolo musicale.
Andrea Biagioli, pianista, compositore, arrangiatore e produttore. Ha composto musiche cameristiche e sinfoniche, per spettacoli teatrali, installazioni multimediali, performance poetiche e cortometraggi. Si dedica alla sintesi del suono sia digitale che analogica e alla musica elettronica nelle sue varie declinazioni. Ha fondato insieme a Massimo Giangrande “Produzioni Dal Bosco” uno studio di produzione, registrazione e distribuzione.
Mauro Cardi dopo gli studi in Italia e a Dramstadt, ha vinto numerosi premi internazionali, tra cui il Gaudeamus Prize. Ha composto per il teatro musicale e opere radiofoniche per la RAI. Con Edison Studio ha realizzato la musica per diversi film muti, tra cui il recente "Metropolis", commissione del Ravenna Festival e Milano Musica. Presidente di Nuova Consonanza dal 1999 al 2001, insegna Composizione presso il Conservatorio di Santa Cecilia. Le sue opere sono edite, tra gli altri, da Ricordi e RAI Trade, che gli hanno dedicato CD monografici.
Paolo Ricci, allievo di Zangelmi e Donatoni, le sue composizioni sono state eseguite in tutto il mondo, fra gli altri, dal Coro “Arnold Schoenberg” di Vienna, dall’ “Ensemble Modern” di Francoforte, dall’Orchestra Sinfonica della RAI. Da qualche tempo ha rivolto interesse verso la multimedialità, creando video-art e collage musicali. In questa veste, nel 2015, ha partecipato alla Biennale d’Arte di Mosca.
Gianluca Deserti dopo aver conseguito vari diplomi accademici, ha studiato con Franco Donatoni, e vinto concorsi internazionali (Premio Bucchi, 1994; Premio G.E.R.M.I, 2011). Le sue composizioni sono state eseguite tra gli altri da "Uroboros Ensemble" (Londra), "Grupo de Música Contemporânea de Lisboa", Ensemble "Taller Sonoro" (Siviglia), "Dèdalo Ensemble" (Brescia), "Ensemble Assonance" (Yerevan). Le sue musiche sono state più volte trasmesse da RAI radio3, web radio e oggetto di registrazioni discografiche.
In collaborazione con il Servizio Biblioteche e Archivi
https://wn.com/Toy_Piano_Stories
Presentazione del cd Toy Piano Stories, di Morena Mestieri e Anna Bellagamba (Produzioni dal Bosco, 2023)
Interventi di Anna Bellagamba e Morena Mestieri (interpreti), Andrea Biagioli (produttore), Mauro Cardi, Paolo Ricci, Gianluca Deserti (compositori)
Portato sul palcoscenico per la prima volta da John Cage nel 1948, il toypiano – pianoforte giocattolo – si è costruito negli anni un suo piccolo repertorio. In questo CD Morena Mestieri e Anna Bellagamba si concentrano sul repertorio per flauto e toypiano, con un nutrito gruppo di nuove composizioni di autori italiani: "Toy (Piano) Stories" di Mauro Cardi, "A Tale from the North" di Andrea Biagioli, "Catalogo immaginario" di Paolo Ricci e "Adagio des Würfelspiels" di Gianluca Deserti. A questi si affiancano "The Sound of the Sea" della compositrice giapponese Rica Narimoto, e un’originale trascrizione di una delle "Children’s Songs" di Chick Corea. Sono invece per toypiano solo i tre "Prés" ("Précieux, "Prétentieux" e "Pernicieux") di Stefano Gervasoni. Infine completa il programma una nuova versione del celebre "Tierkreis" (Zodiaco) di Karlheinz Stockhausen, nella quale il timbro cristallino del toypiano sembra ricondurci alla versione originale del 1975 per carillons, mentre il flauto sembra abbracciare e sorreggere, con la sua ampia estensione e la sua ricca capacità espressiva, il suo piccolo compagno di viaggio. Uscito nell’ottobre 2023, il CD "Toy Piano Stories" è prodotto in edizione solo digitale da Produzioni dal Bosco, una etichetta indipendente di produzione discografica immersa nei boschi dell’Appennino tosco emiliano.
Anna Bellagamba e Morena Mestieri, musiciste di lunga esperienza sia in campo cameristico sia in ambito sinfonico e teatrale, suonano insieme da diversi anni. In duo e in trio con oboe si sono dedicate in modo particolare alla musica del nostro tempo, realizzando diverse produzioni discografiche, e progetti multimediali che coinvolgono l’arte visiva e la recitazione. Partecipano regolarmente a rassegne concertistiche e festival, le loro esecuzioni sono state in più occasioni trasmesse dalla RAI, tra cui numerosi brani in prima assoluta. Dal 2020 hanno iniziato ad interessarsi al repertorio per flauto e toypiano, commissionando opere originali per questo organico, e realizzando trascrizioni e adattamenti anche in forma di spettacolo musicale.
Andrea Biagioli, pianista, compositore, arrangiatore e produttore. Ha composto musiche cameristiche e sinfoniche, per spettacoli teatrali, installazioni multimediali, performance poetiche e cortometraggi. Si dedica alla sintesi del suono sia digitale che analogica e alla musica elettronica nelle sue varie declinazioni. Ha fondato insieme a Massimo Giangrande “Produzioni Dal Bosco” uno studio di produzione, registrazione e distribuzione.
Mauro Cardi dopo gli studi in Italia e a Dramstadt, ha vinto numerosi premi internazionali, tra cui il Gaudeamus Prize. Ha composto per il teatro musicale e opere radiofoniche per la RAI. Con Edison Studio ha realizzato la musica per diversi film muti, tra cui il recente "Metropolis", commissione del Ravenna Festival e Milano Musica. Presidente di Nuova Consonanza dal 1999 al 2001, insegna Composizione presso il Conservatorio di Santa Cecilia. Le sue opere sono edite, tra gli altri, da Ricordi e RAI Trade, che gli hanno dedicato CD monografici.
Paolo Ricci, allievo di Zangelmi e Donatoni, le sue composizioni sono state eseguite in tutto il mondo, fra gli altri, dal Coro “Arnold Schoenberg” di Vienna, dall’ “Ensemble Modern” di Francoforte, dall’Orchestra Sinfonica della RAI. Da qualche tempo ha rivolto interesse verso la multimedialità, creando video-art e collage musicali. In questa veste, nel 2015, ha partecipato alla Biennale d’Arte di Mosca.
Gianluca Deserti dopo aver conseguito vari diplomi accademici, ha studiato con Franco Donatoni, e vinto concorsi internazionali (Premio Bucchi, 1994; Premio G.E.R.M.I, 2011). Le sue composizioni sono state eseguite tra gli altri da "Uroboros Ensemble" (Londra), "Grupo de Música Contemporânea de Lisboa", Ensemble "Taller Sonoro" (Siviglia), "Dèdalo Ensemble" (Brescia), "Ensemble Assonance" (Yerevan). Le sue musiche sono state più volte trasmesse da RAI radio3, web radio e oggetto di registrazioni discografiche.
In collaborazione con il Servizio Biblioteche e Archivi
- published: 09 Mar 2024
- views: 48
14:54
Schoenberg: Suite for Piano, Op.25 (Boffard)
An intensely nuanced and perky performance of one of Schoenberg’s earliest 12-tone works (the prelude and gavotte might actually be the first 12-tone piece Scho...
An intensely nuanced and perky performance of one of Schoenberg’s earliest 12-tone works (the prelude and gavotte might actually be the first 12-tone piece Schoenberg ever wrote). The Suite for Piano has had a rather undeserved reputation as an academically strict work: in fact, it is expressive and vivid, and full of life. For a start, the tone row of the suite E–F–G–D♭–G♭–E♭–A♭–D–B–C–A–B♭ contains a rather cheeky cryptogram of BACH (the last 4 notes are BACH spelled backward), and the HCAB sequence recurs as the root of tetrachord sequences throughout the suite. Schoenberg’s use of serialism is also quite free and consistently creative: the tone row is used as both melody and accompaniment in the Prelude (transposed by a tritone in the bass to avoid note repeats), the Gavotte uses pitches of the row in the wrong order (although each tetrachord retains its integrity), the Intermezzo contains pitch repetitions, the trio in the Menuett is a strict canon that links together all the different permutations of the row arising in the suite, and the Gigue motors along with barely contained rhythmic energy.
There’s also the fact that the pieces are all recognisable as baroque forms, even if they’re extensively modified, and that each has its own quite distinct character. The Prelude is propelled along by the pitch repetitions in m.3; the Gavotte and Musette have rhythmic outlines that are well-defined, even graceful, in their wry detachment; the Intermezzo has that long line singing beneath that halting RH ostinato; the Menuet is liltingly brooding; and the Gigue darkly fraught with intimations of violence. There’s a lot here that is owed to Boffard’s superb playing, which is full of sensitivity, delicate shading, and rhythmic drive – all of this in music which, if played badly, easily becomes rigid, coolly colourless, mechanical.
00:00 – Prelude
01:01 – Gavotte
02:11 – Musette (Gavotte da capo at 3:27)
04:37 – Intermezzo
08:38 – Menuet (and Trio at 10:23)
12:19 – Gigue
https://wn.com/Schoenberg_Suite_For_Piano,_Op.25_(Boffard)
An intensely nuanced and perky performance of one of Schoenberg’s earliest 12-tone works (the prelude and gavotte might actually be the first 12-tone piece Schoenberg ever wrote). The Suite for Piano has had a rather undeserved reputation as an academically strict work: in fact, it is expressive and vivid, and full of life. For a start, the tone row of the suite E–F–G–D♭–G♭–E♭–A♭–D–B–C–A–B♭ contains a rather cheeky cryptogram of BACH (the last 4 notes are BACH spelled backward), and the HCAB sequence recurs as the root of tetrachord sequences throughout the suite. Schoenberg’s use of serialism is also quite free and consistently creative: the tone row is used as both melody and accompaniment in the Prelude (transposed by a tritone in the bass to avoid note repeats), the Gavotte uses pitches of the row in the wrong order (although each tetrachord retains its integrity), the Intermezzo contains pitch repetitions, the trio in the Menuett is a strict canon that links together all the different permutations of the row arising in the suite, and the Gigue motors along with barely contained rhythmic energy.
There’s also the fact that the pieces are all recognisable as baroque forms, even if they’re extensively modified, and that each has its own quite distinct character. The Prelude is propelled along by the pitch repetitions in m.3; the Gavotte and Musette have rhythmic outlines that are well-defined, even graceful, in their wry detachment; the Intermezzo has that long line singing beneath that halting RH ostinato; the Menuet is liltingly brooding; and the Gigue darkly fraught with intimations of violence. There’s a lot here that is owed to Boffard’s superb playing, which is full of sensitivity, delicate shading, and rhythmic drive – all of this in music which, if played badly, easily becomes rigid, coolly colourless, mechanical.
00:00 – Prelude
01:01 – Gavotte
02:11 – Musette (Gavotte da capo at 3:27)
04:37 – Intermezzo
08:38 – Menuet (and Trio at 10:23)
12:19 – Gigue
- published: 14 Aug 2016
- views: 882157