Нурия потом станет необычайно эффектной девушкой, выйдет замуж за Луиджи Ноно, а сейчас ей 88 и она в полном здравии
https://www.youtube.com/watch?v=4AeHkq7cnjc
https://www.youtube.com/watch?v=4AeHkq7cnjc
YouTube
Nuria Schoenberg-Nono and Arnold Schoenberg
Nuria Schoenberg-Nono on her father, Austrian composer Arnold Schoenberg.
Translation (by dust2340):
My name is Nuria Schoenberg-Nono, Schoenberg after my father and Nono after my late husband. This is a picture of me and my father, I guess I am -- this…
Translation (by dust2340):
My name is Nuria Schoenberg-Nono, Schoenberg after my father and Nono after my late husband. This is a picture of me and my father, I guess I am -- this…
Действительно необычное издание «Мелодии»: Нейгауз разбирает Шумана
https://www.facebook.com/100000874450149/posts/3166820243357093/?d=n
https://www.facebook.com/100000874450149/posts/3166820243357093/?d=n
Вот прекрасный концерт с музыкой Андриессена.
Sometimes things don't go as planned. The Orchestra of the Eighteenth Century commissioned a new piece to Louis Andriessen in the memory of Frans Brüggen: “May”, an oratorio for choir and orchestra intended to be premiered in The Holland Festival during a concert dedicated to the memory of Frans Brüggen. Unfortunately it couldn't happen.
But far from giving up, the Festival and the Orchestra decided to go on with an alternative plan, a new program involving all the participants in the original concert: Lucie Horsch, Daniel Reuss, Cappella Amsterdam and a reduced Orchestra of the Eighteenth Century (just a small string section of members based in The Netherlands!).
On the 7th of June, only 30 people were allowed in the audience of the Muziekgebouw aan 't IJ. Now you can all listen and watch such an amazing evening:
Listen on Sunday 14 June, 20:00, NPO Radio 4, Avondconcert
Watch from Sunday 14 (20:30!) to Sunday 21 June from the site of The Holland Festival: www.hollandfestival.nl
BITTER/SWEET
Concert in the memory of Frans Brüggen
Program
The Orchestra of the Eighteenth Century:
Ricercare a 6 voci (1747)
from Musicalisches Opfer
Johann Sebastian Bach (1685-1750)
arrangement by Wim ten Have
Pavane
Samuel Scheidt (1587-1654)
Sarabande
uit …miserere… (2007)
Louis Andriessen (1939)
Lucie Horsch solo:
Sweet (1964)
Louis Andriessen (1939)
Dedicated to Frans Brüggen
Nederlandse Muziekprijs, Lucie Horsch:
-Emily Ansenk, Director of the Holland Festival
-Ingrid van Engelshoven, Minister of Education, Culture and Science
-Lucie Horsch
Cappella Amsterdam:
Un beau baiser (1980)
from the opera George Sand
Louis Andriessen (1939)
Nymphes des bois. Deploration sur la mort de Ockeghem (1497)
Josquin des Prez (ca. 1450-1521)
Deficiat in dolore vita mea
Orlando di Lasso (1532-1594)
Abendlied (1855)
Joseph Rheinberger (1839-1901)
Lucie Horsch & The Orchestra of the Eighteenth Century:
Concerto in D major for flute and strings
Johann Sebastian Bach (1685-1750)
arrangement (1981) by Frans Brüggen (1934-2014) after BWV 49, 169 and 105
(Photos courtesy of Holland Festival)
Sometimes things don't go as planned. The Orchestra of the Eighteenth Century commissioned a new piece to Louis Andriessen in the memory of Frans Brüggen: “May”, an oratorio for choir and orchestra intended to be premiered in The Holland Festival during a concert dedicated to the memory of Frans Brüggen. Unfortunately it couldn't happen.
But far from giving up, the Festival and the Orchestra decided to go on with an alternative plan, a new program involving all the participants in the original concert: Lucie Horsch, Daniel Reuss, Cappella Amsterdam and a reduced Orchestra of the Eighteenth Century (just a small string section of members based in The Netherlands!).
On the 7th of June, only 30 people were allowed in the audience of the Muziekgebouw aan 't IJ. Now you can all listen and watch such an amazing evening:
Listen on Sunday 14 June, 20:00, NPO Radio 4, Avondconcert
Watch from Sunday 14 (20:30!) to Sunday 21 June from the site of The Holland Festival: www.hollandfestival.nl
BITTER/SWEET
Concert in the memory of Frans Brüggen
Program
The Orchestra of the Eighteenth Century:
Ricercare a 6 voci (1747)
from Musicalisches Opfer
Johann Sebastian Bach (1685-1750)
arrangement by Wim ten Have
Pavane
Samuel Scheidt (1587-1654)
Sarabande
uit …miserere… (2007)
Louis Andriessen (1939)
Lucie Horsch solo:
Sweet (1964)
Louis Andriessen (1939)
Dedicated to Frans Brüggen
Nederlandse Muziekprijs, Lucie Horsch:
-Emily Ansenk, Director of the Holland Festival
-Ingrid van Engelshoven, Minister of Education, Culture and Science
-Lucie Horsch
Cappella Amsterdam:
Un beau baiser (1980)
from the opera George Sand
Louis Andriessen (1939)
Nymphes des bois. Deploration sur la mort de Ockeghem (1497)
Josquin des Prez (ca. 1450-1521)
Deficiat in dolore vita mea
Orlando di Lasso (1532-1594)
Abendlied (1855)
Joseph Rheinberger (1839-1901)
Lucie Horsch & The Orchestra of the Eighteenth Century:
Concerto in D major for flute and strings
Johann Sebastian Bach (1685-1750)
arrangement (1981) by Frans Brüggen (1934-2014) after BWV 49, 169 and 105
(Photos courtesy of Holland Festival)
У Ференца Листа в паспорте, выданном австрийскими властями, стояла пометка Celebritate sua sat notus ("достаточно известен благодаря своей славе") — вероятно, первая на свете виза O-1.
Forwarded from #RussianCultureVsCOVID19 (Alexandra Vorobyova)
Всем привет, это Саша Воробьёва. Сегодня хороший день — во-первых, Блумсдэй, во-вторых — день рождения Сергея Курёхина. Мои друзья из Центра Курёхина в Петербурге сегодня весь день ведут стрим и показывают много редких видео из курёхинского архива — с концертами и не только.
Смотреть можно здесь: www.youtube.com/watch?v=ObGssmksuVo&t=593s
А следить за расписанием трансляции — в телеграм-канале Центра.
Смотреть можно здесь: www.youtube.com/watch?v=ObGssmksuVo&t=593s
А следить за расписанием трансляции — в телеграм-канале Центра.
YouTube
- YouTube
Гершвин снимает Шенберга - известное видео, но перепосмотреть всегда приятно
https://www.youtube.com/watch?v=EkAoe2bf-Bs
https://www.youtube.com/watch?v=EkAoe2bf-Bs
YouTube
Arnold Schoenberg - Kolisch Quartet – George Gershwin – Home Movies
Created in 1936, 1019 North Roxbury Drive, Beverly Hills
Starring: Arnold Schoenberg, Rudolf Kolisch, Gertrud Schoenberg, George Gershwin, Felix Khuner, Benar Heifetz, Eugen Lehner, Doris Vidor, Rose Gershwin
This moving image content is silent, and was…
Starring: Arnold Schoenberg, Rudolf Kolisch, Gertrud Schoenberg, George Gershwin, Felix Khuner, Benar Heifetz, Eugen Lehner, Doris Vidor, Rose Gershwin
This moving image content is silent, and was…
Просто посмотрите.
https://youtu.be/otHFNxx2t0M
Это 79 год, а смотрится как репортаж с Марса — ведущий, который объявляет героя как будто он сейчас будет боксировать или брать сверхтяжёлый вес, взрывающаяся от восторга аудитория Линкольн-центра — сейчас такое не носят, выглядит это очень странно, а ведь это все буквально вчерашняя традиция. Ну и, конечно, пробки вышибает даже сквозь крохотный экранчик YouTube.
https://youtu.be/otHFNxx2t0M
Это 79 год, а смотрится как репортаж с Марса — ведущий, который объявляет героя как будто он сейчас будет боксировать или брать сверхтяжёлый вес, взрывающаяся от восторга аудитория Линкольн-центра — сейчас такое не носят, выглядит это очень странно, а ведь это все буквально вчерашняя традиция. Ну и, конечно, пробки вышибает даже сквозь крохотный экранчик YouTube.
YouTube
Luciano Pavarotti - Nessun dorma (Lincoln Center, 1979)
Идет прямо сейчас. Это концерт, ради которого я собирался метнуться в Пермь, пропустил и очень жалел. Великий ханенде и квартет musicAeterna — коллаборация, которая возможна только в рамках Дягилевского фестиваля. Viva la quarantaine!
Концерт ансамбля Алима Гасымова (Азербайджан) и Квартета musicAeterna Дягилевский фестиваль в Перми, 2017
Квартет: Афанасий Чупин, Айлен Притчин, Ирина Сопова, Марина Иванова
https://permopera.ru/playbills/playbill/92419/
Концерт ансамбля Алима Гасымова (Азербайджан) и Квартета musicAeterna Дягилевский фестиваль в Перми, 2017
Квартет: Афанасий Чупин, Айлен Притчин, Ирина Сопова, Марина Иванова
https://permopera.ru/playbills/playbill/92419/
Тем временем, Лейф Сегерстам закончил свою 339-ю симфонию, называется ""Coronavirus chaoticlies in prisonic moods". Идет 16 минут, захотите исполнить — партитура тут.
https://core.musicfinland.fi/works/sinfonia-piccola-no-339
https://core.musicfinland.fi/works/sinfonia-piccola-no-339
core.musicfinland.fi
Sinfonia piccola No. 339
Your resource in Finnish music.
Да, концерт Гасымова и musicAeterna еще доступен (надо думать, до вечера). Посмотрел в ночи — это абсолютный кайф (вместе они начинают играть где-то в конце первого часа). Вообще, сходу внедриться в мугам академическим музыкантам не так-то просто, но они еще и с невероятной лихостью и удовольствием это делают — не могу представить, как это было живьем, если даже смотря запись, хочется орать "давай еще".
https://www.youtube.com/watch?v=9ISEV14ZiPw
https://www.youtube.com/watch?v=9ISEV14ZiPw
Из архивов Метрополитан: рецензия на премьеру "Саломеи" в 1907-м году (которая вызвала такой скандал, что все последующие вечера были отменены и в следующий раз ее сыграли на этой сцене только в 1934-м).
"What the opera is is told elsewhere. It remains to record that in the audience at this performance, as at the dress rehearsal on Sunday, the effect of horror was pronounced, many voices were hushed as the crowd passed out into the night, many faces were white almost as those at the rail of a ship, many women were silent, and men spoke as if a bad dream were on them. The preceding concert was forgotten; ordinary emotions following an opera were banished. The grip of a strange horror or disgust was on the majority. It was as significant that the usual applause was lacking. It was scattered and brief.
A reviewer ought to be equipped with a dual nature, both intellectual and moral, in order to pronounce fully and fairly upon the qualities of the drama by Oscar Wilde and Richard Strauss.He should be an embodied conscience stung into righteous fury by the moral stench with which "Salome" fills the nostrils of humanity, but, though it makes him retch, he should be sufficiently judicial in his temperament calmly to look at the drama in all its aspects and determine whether or not as a whole it is an instructive note on the life and culture of the times and whether or not this exudation from the diseased and polluted will and imagination of the authors marks a real advance in artistic expression, irrespective of its contents or their fitness for dramatic representation.
There is a vast deal of ugly music in "Salome"-music that offends the ear and rasps the nerves like fiddlestrings played on by a course file...What shall be said...when music adorns itself with the loveliest attributes and leads them to the apotheosis of that which is indescribably, yes, inconceivably gross and abominable? Music can not lie. Not even the genius of Richard Strauss can make it discriminate in its soaring ecstasy between a vile object and a good".
http://archives.metoperafamily.org/archives/scripts/cgiip.exe/WService=BibSpeed/fullcit.w?xCID=38600&limit=500&xBranch=ALL&xsdate=&xedate=&theterm=Weed,%20Marion%20%5BSoprano%5D&x=0&xhomepath=&xhome=
"What the opera is is told elsewhere. It remains to record that in the audience at this performance, as at the dress rehearsal on Sunday, the effect of horror was pronounced, many voices were hushed as the crowd passed out into the night, many faces were white almost as those at the rail of a ship, many women were silent, and men spoke as if a bad dream were on them. The preceding concert was forgotten; ordinary emotions following an opera were banished. The grip of a strange horror or disgust was on the majority. It was as significant that the usual applause was lacking. It was scattered and brief.
A reviewer ought to be equipped with a dual nature, both intellectual and moral, in order to pronounce fully and fairly upon the qualities of the drama by Oscar Wilde and Richard Strauss.He should be an embodied conscience stung into righteous fury by the moral stench with which "Salome" fills the nostrils of humanity, but, though it makes him retch, he should be sufficiently judicial in his temperament calmly to look at the drama in all its aspects and determine whether or not as a whole it is an instructive note on the life and culture of the times and whether or not this exudation from the diseased and polluted will and imagination of the authors marks a real advance in artistic expression, irrespective of its contents or their fitness for dramatic representation.
There is a vast deal of ugly music in "Salome"-music that offends the ear and rasps the nerves like fiddlestrings played on by a course file...What shall be said...when music adorns itself with the loveliest attributes and leads them to the apotheosis of that which is indescribably, yes, inconceivably gross and abominable? Music can not lie. Not even the genius of Richard Strauss can make it discriminate in its soaring ecstasy between a vile object and a good".
http://archives.metoperafamily.org/archives/scripts/cgiip.exe/WService=BibSpeed/fullcit.w?xCID=38600&limit=500&xBranch=ALL&xsdate=&xedate=&theterm=Weed,%20Marion%20%5BSoprano%5D&x=0&xhomepath=&xhome=
archives.metoperafamily.org
BiblioTech PRO V3.2b
Покажите детям: короткая работа Филипа Гласса для "Улицы Сезам", 1979 г. Нам такого не показывали (впрочем, показывали много чего другого).
https://www.youtube.com/watch?v=4JWwOzEDGss
здесь в гораздо лучшем качестве, но совсем крохотный отрывок
https://www.youtube.com/watch?v=-9467zZV0Lc
https://www.youtube.com/watch?v=4JWwOzEDGss
здесь в гораздо лучшем качестве, но совсем крохотный отрывок
https://www.youtube.com/watch?v=-9467zZV0Lc
YouTube
Philip Glass - Sesame Street - Geometry of Circles.mp4
Philip Glass composed this music for Sesame Street in 1979. It is not sampled from his other works. It has aired on Sesame Street as recently as 1994 and probably later.