• Kiri Te Kanawa: The complete "Les nuits d'été H. 81" (Berlioz)

    Les nuits d'été (H. 81): I. Villanelle 00:00 II. Le spectre de la rose 02:09 III. Sur les lagunes 08:41 IV. Absence 14:43 V. Au cimitière 20:21 VI. L'île inconnue 25:51 Berlioz, Hector (1803-69) -composer Kiri Te Kanawa -soprano Daniel Barenboim -conductor Orchestre de Paris Scores: I. http://sausage.whatbox.ca:15263/imglnks/usimg/4/4f/IMSLP55645-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_I._Villanelle__orch._score_.pdf II. http://sausage.whatbox.ca:15263/imglnks/usimg/5/5e/IMSLP55646-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_II._Le_Spectre_de_la_Rose__orch._score_.pdf III. http://conquest.imslp.info/files/imglnks/usimg/c/c7/IMSLP55647-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_III._Sur_les_Lagunes__orch._score_.pdf IV. http://sausage.whatbox.ca:15263/imglnks/usimg/0/05/IMSLP55648-PMLP...

    published: 29 Mar 2014
  • Giovanni Gastoldi - Balletti per Cantare, Sonare e Ballare (1591)

    Giovanni Giacomo Gastoldi (ca. 1554 – 4 January 1609), was an Italian composer of the late Renaissance and early Baroque periods. He is known for his 1591 publication of balletti for five voices. Balletti (1591) 1. L'Innamorato 2. Introduittione a 1 Balletti (1:23) 3. Il bell'humore (3:07) 4. L'Acceso (7:28) 5. Concerto de Pastori a 8 (12:32) 6. Il contento (15:01) 7. Amor vittorioso (17:37) 8. Il Piacere (20:38) 9. La Bellezza (22:58) 10. L'Ardito (27:45) 11. Gloria d'Amore (31:14) 12. Speme Amorosa (34:53) Ensemble Musique Ancienne de Lyon Instrumentations et Direction musicale: François Castet Ensemble Vocal de Lyon Direction: Guy Cornut His two sets of balletti, a strophic vocal dance, however, are the most prominent and influential. These were written for five voices, and contain...

    published: 04 Jan 2016
  • Casting - "Love the Skin You're In" Un Evenement de Mode Taille Forte - A Plus Size Fashion Event

    On February 16 2014, P.S. Montreal and Cath.A.Strophic Productions held a model casting for the upcoming "Love the Skin You're In" Fashion show, to be held on April 26th 2014. Video by My 11.11 Productions (http://vimeo.com/user9827590 and https://www.facebook.com/pages/My-1111-Productions/121926871224698) Event details: https://www.facebook.com/events/1407674952822464/ Event tickets: http://www.clubsoda.ca/en/spec-love_the_skin_youre_in-1094.php Special thank you to our judging panel and volunteers: Cath.A.Strophic Productions, Yael Perez / Miss Meow - Model and Entertainer, Andrea Hausmann Photography, Sonia Levesque Design, Evanescent Twin, The Models' Coach - Naïad International, Sylvain Bergeron, Mitzi Perez and Adam Geraldi Filmed at Shift Space (http://www.shiftspace.ca/) ...

    published: 17 Mar 2014
  • Schubert: "Die Forelle" (Fischer-Dieskau, Moore)

    In answer to a request... Schubert wrote no fewer than five versions of this song, and also based his Trout Quintet, D667 on it. It's a charming mini-drama, reflecting the naturalist theme of the Romantic period and Schubert's own sense of playfulness. In the text, the narrator describes looking at a trout in the water, and his indignation when a fisherman catches it by unfair means. The famous six-note phrase that forms the majority of the accompaniment evokes the image of a fish literally rising to the bait. The vocal melody is equally light, until the moment when the fisherman muddies up the water to catch the fish, when both voice and piano change to a darker tone, creating the sense of a little drama enacted. (allmusic.com) Die Forelle In einem Bächlein helle, Da s...

    published: 21 Jun 2009
  • Elly Ameling: The complete "12 English canzonettas Hob.XXVIa/25-36" (Haydn)

    6 English canzonettas (Hob.XXVIa/25-30): I. The mermaid's song 00:00 II. Recollection 03:25 III. Pastoral song 09:11 IV. Despair 12:44 V. Pleasing pain 16:31 VI. Fidelity 19:31 6 English canzonettas (Hob.XXVIa/31-36): VII. The sailor's song 23:49 VIII. The wanderer 26:20 IX. Symphaty 30:34 X. She never told her love 33:38 XI. Piercing eyes 37:47 XII. Content 39:43 Haydn, Joseph (1732-1809) -composer Elly Ameling -soprano Jörg Demus -piano I-VI: written in 1794 and dedicated to Mrs John Hunter VII-XII: written in 1795 and dedicated to Ladie Charlotte Bertie Score: Available for free at imslp.org For more of Haydn's songs check out my "The art of Austrian song: Haydn, Mozart, Schubert, Mahler, Berg" playlist. Description of first six canzonettas by Michael Jameson: The opening numbe...

    published: 07 Jan 2016
  • L'Euridice by Giulio Caccini

    Innsbrucker Festwochen der Alten Musik 2013 Euridice, Tragedia Silvia Frigato (soprano) Orfeo Furio Zanasi (baritone) Dafne, Proserpina Sara Mingardo (alto) Venere Monica Piccinini (soprano) Arcetro Giampaolo Fagotto (tenor) Plutone Antonio Abete (bass) Aminta, Tirsi Luca Dordolo (tenor) Caronte Mauro Borgioni (baritone) Radamanto Matteo Bellotto (bass) Choir and instrumental ensemble Concerto Italiano Musical director and harpsichord Rinaldo Alessandrini Stage director and costumes Hinrich Horstkotte Stage design Nicolas Bovey Composta in Musica in Stile Rappresentativo by Giulio Caccini (1551--1618) Libretto by Ottavio Rinuccini Thirst printed version: 1600 Premiere: 1602, Florence In an attempt to revive classical Greek tragedy, the opera genre came into being around...

    published: 23 Aug 2013
  • Cantiones Natalitiæ - Dutch Christmas carols from the Southern Netherlands in the 17th century

    A new genre of polyphonic Christmas carols that developed in the Southern Netherlands during the seventeenth century was called cantiones natalitiæ. These were sacred songs in Dutch (Flemish) or Latin, in simple, strophic four-part settings with figured bass. The composers of early seventeenth-century cantiones natalitiae were local church musicians of Antwerp, Brussels, and Ghent. The carols, mostly based on pre-existing songs, were sung in connection with Christmastide devotional services, especially the evening Marian Salve service. The earliest Flemish carols were published in the Laudes vespertinæ of 1604 and 1609. The three selected Christmas songs were all published in Antwerp in the 17th century and are by Guilielmus Messaus (1589-1640), by an unknown composer and by Joannes Ber...

    published: 20 Nov 2010
  • Silent Night (with lyrics)

    published: 14 Dec 2008
  • TripHop Techno Mania

    Techno Music Productions AKA IceWizardy 949 Orange County,CA Beat Productions studio Hit me for $20 dollar exclusives or $5 single customized productions. You know what it is, hit up yo boy and subscr

    published: 20 Jul 2014
  • Bejun Mehta: The complete "3 Shakespeare songs Op. 6" (Quilter)

    3 Shakespeare songs (Op. 6): I. Come away, death 00:00 II. O mistress mine 02:53 III. Blow, blow, thou winter wind 04:24 Quilter, Roger (1877-1953) -composer Bejun Mehta -countertenor Julius Drake -piano Playlist: "The art of British song: Elgar, Somervell, Williams, Finzi..": https://www.youtube.com/playlist?action_edit=1&list=PLdM8VSWYvcWG_X-lGBATHMoJTGPlAV1TQ Score: http://burrito.whatbox.ca:15263/imglnks/usimg/4/4c/IMSLP218532-SIBLEY1802.20489.bda5-39087013698479score.pdf Roger Quilter's first group of songs setting texts of Shakespeare, from 1905, was so successful that the composer was often (and with similiar success) to return to the Bard's work. Quilter was, of course, only one of the legion of composers who found inspiration in Shakespeare, but his sensitive, artistic setting...

    published: 30 Aug 2014
  • Sad, but Beautiful Music

    A sad, but very heart touching music! Subscribe: youtube.com/user/610fatima New Video every Friday, so check out! Read my blog: http://sadmusic1.blogspot.ca/2013/08/hello-everyone-this-is-just-very-quick.html Ending by: dreamscence.org

    published: 28 Aug 2013
  • Giulio Caccini - Amor, io parto - Montserrat Figueras

    High resolution and stereo sound: http://www.youtube.com/watch?v=ClXFHhaACgs&fmt=18 Giulio Caccini (1551--1618) Amor, io parto Madrigal for soprano voice, from "Le nuove musiche, 1601" set on an anonymous text In this recording: Montserrat Figueras, soprano Hopkinson Smith, baroque guitar Harmonia Mundi The score I used is from a facsimile copy of Caccini's Le Nuove Musiche, 1601. I didn't edit the score at all, except that I cleared the specks around it . Here and there, the text may not be so easy to read on the score. But, as always, I included the text in modern spelling and the translation. "Caccini's Le Nuove Musiche is a collection of works for solo voice and basso continuo. Caccini uses two distinct compositional styles in the collection: twelve "madrigals" -- through-compos...

    published: 11 Aug 2008
  • Just intonation in the Renaissance

    For the footnotes and other extra information see the following link: http://tinyurl.com/hncqzcv http://www.earlymusicsources.com/home/more/youtube/justintonation Created by Elam Rotem, Oren Kirschenbaum and Johannes Keller http://www.earlymusicsources.com Audio, video and animations by Mel et Lac (http://www.meletlac.com) The sound samples were made using a special program developed by Johannes Keller (http://www.projektstudio31.com)

    published: 06 Oct 2016
  • String Chamber เพลง Song form Secret Garden

    published: 31 Oct 2013
  • [Official Video] Silent Night (Live) - Pentatonix

    A PENTATONIX CHRISTMAS OUT NOW! ITUNES http://smarturl.it/APentatonixChristmas?IQid=yt | AMAZON http://smarturl.it/APTXMASAMZ?IQid=yt | SPOTIFY http://smarturl.it/StreamAPTXMAS?IQid=yt | GOOGLE PLAY http://smarturl.it/APTXMASGP?IQid=yt | WEBSTORE http://smarturl.it/PTXStore?IQid=yt | WALMART CD http://smarturl.it/APTXMASWalmart?IQid=yt | TARGET CD http://smarturl.it/APTXMASTarget?IQid=yt | FYE CD http://smarturl.it/APTXMASFYE?IQid=yt GET PENTATONIX THE ALBUM NOW! ITUNES http://smarturl.it/PTXalbum?IQid=yt | AMAZON http://smarturl.it/PTXalbumA?IQid=yt | SPOTIFY http://smarturl.it/PTXalbumS?IQid=yt | GOOGLE PLAY http://smarturl.it/PTXalbumG?Iqid=yt | WEBSTORE http://smarturl.it/PTXalbumD2C?IQid=yt | TARGET DELUXE CD WITH 3 BONUS TRACKS http://smarturl.it/PTXalbumT?IQid=yt BUY THAT'S CHRI...

    published: 25 Nov 2014
  • SMN6; DEFILONS VERT! (introducing Vste Entertainment)

    DEFILONS VERT! SMN Fronline Fashion Series, 2011 FOLLOW OUR FEED http://www.shootmenow.ca Featured Musician; Saya -- 'Ride Your Train' http://www.sayaofficial.com Mardi, le 29 novembre 2011, à la Salle Bain Mathieu, Vste | Entertainment vous présente DÉFILONS VERT! Un défilé de mode à but non-lucratif mandaté par la fondation des jeunes pour l'environnement au profit d'ÉQUITERRE. Nous sommes fières de vous présenter la ligne SURIN de l'ex-champion olympique d'athlétisme Bruny Surin et de plusieurs designers de la semaine de la mode de Montréal, tels que: anomal couture, Dinh Bà Design, Myco Anna, Lu Shyne et de plusieurs autres. C'est un évènement à ne pas manquer. Aidons à la cause: poursuivonslechangement.com Pour plus d'informations appeler au 514-993-4059 ou sur http://www...

    published: 22 Dec 2011
Kiri Te Kanawa: The complete "Les nuits d'été H. 81" (Berlioz)

Kiri Te Kanawa: The complete "Les nuits d'été H. 81" (Berlioz)

  • Order:
  • Duration: 29:29
  • Updated: 29 Mar 2014
  • views: 13640
videos
Les nuits d'été (H. 81): I. Villanelle 00:00 II. Le spectre de la rose 02:09 III. Sur les lagunes 08:41 IV. Absence 14:43 V. Au cimitière 20:21 VI. L'île inconnue 25:51 Berlioz, Hector (1803-69) -composer Kiri Te Kanawa -soprano Daniel Barenboim -conductor Orchestre de Paris Scores: I. http://sausage.whatbox.ca:15263/imglnks/usimg/4/4f/IMSLP55645-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_I._Villanelle__orch._score_.pdf II. http://sausage.whatbox.ca:15263/imglnks/usimg/5/5e/IMSLP55646-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_II._Le_Spectre_de_la_Rose__orch._score_.pdf III. http://conquest.imslp.info/files/imglnks/usimg/c/c7/IMSLP55647-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_III._Sur_les_Lagunes__orch._score_.pdf IV. http://sausage.whatbox.ca:15263/imglnks/usimg/0/05/IMSLP55648-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_IV._Absence__orch._score_.pdf V. http://javanese.imslp.info/files/imglnks/usimg/1/15/IMSLP55649-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_V._Au_Cimeti__re__orch._score_.pdf VI. http://conquest.imslp.info/files/imglnks/usimg/8/81/IMSLP55650-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_VI._L_Ile_inconnue__orch._score_.pdf Playlist "The art of French song: Faure, Debussy, Ravel, Poulenc, Satie...": http://www.youtube.com/playlist?list=PLdM8VSWYvcWGecjk_VR0LNMYlVs05efWQ This is a cycle of six settings of poems written by Théophile Gautier. Though their subjects have little direct connection, each possesses the sultry, scented charm implied by Berlioz's title. The songs were composed in 1832 and published in 1841. Except for "Absence," which was orchestrated in 1843, the orchestral versions of the remaining songs were completed in 1856. Aside from their immediate appeal, they suggest that, before the rise of a new school of composers such as Fauré, Duparc, Debussy, and Ravel, Berlioz was reacting to a demand for songs of a distinctively French character, compared with the then-widely popular German lied. However, the American musicologist Alfred Einstein's assertion that Berlioz "sowed the seeds for the entire musical lyricism of the nineteenth century in the French language" is surely an exaggeration: he was too much an admirer of German music to do such a thing. Indeed, the first song "Villanelle" is almost strophic, only the third stanza showing any real harmonic or melodic changes in the vocal line, a device which makes it reminiscent of Schubert. Singers tend to pick and choose among the songs performed but, since all easily stand on their own merits, this does not matter a great deal. "Absence," a call for the return of the beloved, would, for example, make an impressive opening to the cycle. "Le spectre de la rose" (I am the ghost of the rose you wore at the ball) is operatic in character and avoids the obvious waltz rhythms used in the ballet music that was also inspired by this poem. "Sur la lagunes," a lament for a dead lover, was also set by Fauré under the title Chanson de pêcheur. Berlioz makes it into a barcarolle, with a flowing accompaniment and echoes of Spain and Italy. "Au cimetiere" (the churchyard where the beloved lies) is a lament, with the added dimension of modern-sounding semitone changes and enharmonic modulations - evidence of Berlioz's constant search for ways to distance himself from conventional tonality. The final song, "L'ile inconnue," a light serenade, (where will you go, fair one in my magic boat) is - apart from one rather awkward cadence just before the lady replies - similarly progressive in its tonality. The tenderly expressive qualities of these settings makes one wish that Berlioz had continued his dedication to French poetry. Source: http://www.allmusic.com/composition/les-nuits-d%C3%A9t%C3%A9-song-cycle-for-voice-piano-or-orchestra-h-81-op-7-mc0002360887 Buy the CD here: http://www.deccaclassics.com/en/cat/4109662
https://wn.com/Kiri_Te_Kanawa_The_Complete_Les_Nuits_D'Été_H._81_(Berlioz)
Giovanni Gastoldi - Balletti per Cantare, Sonare e Ballare (1591)

Giovanni Gastoldi - Balletti per Cantare, Sonare e Ballare (1591)

  • Order:
  • Duration: 38:44
  • Updated: 04 Jan 2016
  • views: 4315
videos
Giovanni Giacomo Gastoldi (ca. 1554 – 4 January 1609), was an Italian composer of the late Renaissance and early Baroque periods. He is known for his 1591 publication of balletti for five voices. Balletti (1591) 1. L'Innamorato 2. Introduittione a 1 Balletti (1:23) 3. Il bell'humore (3:07) 4. L'Acceso (7:28) 5. Concerto de Pastori a 8 (12:32) 6. Il contento (15:01) 7. Amor vittorioso (17:37) 8. Il Piacere (20:38) 9. La Bellezza (22:58) 10. L'Ardito (27:45) 11. Gloria d'Amore (31:14) 12. Speme Amorosa (34:53) Ensemble Musique Ancienne de Lyon Instrumentations et Direction musicale: François Castet Ensemble Vocal de Lyon Direction: Guy Cornut His two sets of balletti, a strophic vocal dance, however, are the most prominent and influential. These were written for five voices, and contained passages of nonsense syllables (e.g. "fa la la") which seemed to personify a type of lover and love-making. As a whole, Gastoldi's balletti were a musical commedia dell'arte, and included the following compositions: Contento (The Lucky One), Premiato (The Winner), L'Inamorato (The Suitor), Piacere (Pleasure), La Bellezza (Beauty), Gloria d'Amore (Praise of Love), L'Acceso (The Ardent), Caccia d'Amore (Love-Chase), Il Martellato (The Disdained), Il Bell’humore (The Good Fellow), Amor Vittorioso (Love Victorious), and Speme Amorosa (Amorous Hope). His balleti music basically had a simple chordal texture, fast declamation and rhythmic accents at the expense of contrapuntal display, as is to be expected from their close relationship to dance music. Gastoldi's Balleti a Cinque Voci was published in Venice in 1591, and immediately became a "best seller." Within a short time, the collection was reprinted ten times, not only by their original publisher but also in other countries as well. Composers like Vecchi, Banchieri, Hassler, and Morley were greatly captivated by this musical creation (compare Morley's ballett Now is the Month of Maying for a clear example of Gastoldi's influence). It is certain that many frottole, villancicos, and chansons francaises were intimately related to dance, but it seems true that Gastoldi was the first scholarly author, presumably since the thirteenth century, to compose songs for dancing which were modeled on instrumental patterns, and were perfectly apt for instrumental performance alone. The title page of the balletti bestows the title "Maestro di Cappella del Serenissimo Signor Duca di Mantova" to Gastoldi. However, this has no slightest intention of masking sophistication behind the spontaneous naivete of Gastoldi's works, because the entire content is a collection of simplicty, healthy playfulness, communicative carefreeness, and gaiety. The common trait is, of course, the Fa-la refrain, (which incidentally became "lirum-lirum "in Gloria d’amore) with skipping rhythms, clear lines, and frank tonality. Gastoldi sought to vary his compositions from ballet to ballet by sometimes writing in triple time, in double or by the alternate use of major and minor. Otherwise, it cannot be said that he at all attempted a psychological differentiation between the several "characters" depicted.
https://wn.com/Giovanni_Gastoldi_Balletti_Per_Cantare,_Sonare_E_Ballare_(1591)
Casting - "Love the Skin You're In" Un Evenement de Mode Taille Forte - A Plus Size Fashion Event

Casting - "Love the Skin You're In" Un Evenement de Mode Taille Forte - A Plus Size Fashion Event

  • Order:
  • Duration: 2:05
  • Updated: 17 Mar 2014
  • views: 498
videos
On February 16 2014, P.S. Montreal and Cath.A.Strophic Productions held a model casting for the upcoming "Love the Skin You're In" Fashion show, to be held on April 26th 2014. Video by My 11.11 Productions (http://vimeo.com/user9827590 and https://www.facebook.com/pages/My-1111-Productions/121926871224698) Event details: https://www.facebook.com/events/1407674952822464/ Event tickets: http://www.clubsoda.ca/en/spec-love_the_skin_youre_in-1094.php Special thank you to our judging panel and volunteers: Cath.A.Strophic Productions, Yael Perez / Miss Meow - Model and Entertainer, Andrea Hausmann Photography, Sonia Levesque Design, Evanescent Twin, The Models' Coach - Naïad International, Sylvain Bergeron, Mitzi Perez and Adam Geraldi Filmed at Shift Space (http://www.shiftspace.ca/) ***** Le 16 Février 2014, P.S. Montréal et Cath.A.Strophic Productions ont tenu une casting de modèle pour la prochaine défilé de mode, "Love the Skin You're In" qui se tiendra le 26 Avril 2014. Vidéo par My 11.11 Productions (http://vimeo.com/user9827590 et https://www.facebook.com/pages/My-1111-Productions/121926871224698) Détails d'événement: https://www.facebook.com/events/1407674952822464/ Billets d'événement: http://www.clubsoda.ca/en/spec-love_the_skin_youre_in-1094.php Merci spécial à notre panel de juges: Cath.A.Strophic Productions, Yael Perez / Miss Meow - Model and Entertainer, Andrea Hausmann Photography, Sonia Levesque Design, Evanescent Twin, The Models' Coach - Naïad International, Sylvain Bergeron, Mitzi Perez and Adam Geraldi Filmé au Shift Space (http://www.shiftspace.ca/)
https://wn.com/Casting_Love_The_Skin_You're_In_Un_Evenement_De_Mode_Taille_Forte_A_Plus_Size_Fashion_Event
Schubert: "Die Forelle" (Fischer-Dieskau, Moore)

Schubert: "Die Forelle" (Fischer-Dieskau, Moore)

  • Order:
  • Duration: 1:58
  • Updated: 21 Jun 2009
  • views: 1566104
videos
In answer to a request... Schubert wrote no fewer than five versions of this song, and also based his Trout Quintet, D667 on it. It's a charming mini-drama, reflecting the naturalist theme of the Romantic period and Schubert's own sense of playfulness. In the text, the narrator describes looking at a trout in the water, and his indignation when a fisherman catches it by unfair means. The famous six-note phrase that forms the majority of the accompaniment evokes the image of a fish literally rising to the bait. The vocal melody is equally light, until the moment when the fisherman muddies up the water to catch the fish, when both voice and piano change to a darker tone, creating the sense of a little drama enacted. (allmusic.com) Die Forelle In einem Bächlein helle, Da schoß in froher Eil Die launische Forelle Vorüber wie ein Pfeil. Ich stand an dem Gestade Und sah in süßer Ruh Des muntern Fischleins Bade Im klaren Bächlein zu. Ein Fischer mit der Rute Wohl an dem Ufer stand, Und sah's mit kaltem Blute, Wie sich das Fischlein wand. So lang dem Wasser Helle, So dacht ich, nicht gebricht, So fängt er die Forelle Mit seiner Angel nicht. Doch endlich ward dem Diebe Die Zeit zu lang. Er macht Das Bächlein tückisch trübe, Und eh ich es gedacht, So zuckte seine Rute, Das Fischlein zappelt dran, Und ich mit regem Blute Sah die Betrogene an. Christian Friedrich Daniel Schubart (1739-1791) The trout In a bright little brook there shot in merry haste a capricious trout: past it shot like an arrow. I stood upon the shore and watched in sweet peace the cheery fish's bath in the clear little brook. A fisher with his rod stood at the water-side, and watched with cold blood as the fish swam about. So long as the clearness of the water remained intact, I thought, he would not be able to capture the trout with his fishing rod. But finally the thief grew weary of waiting. He stirred up the brook and made it muddy, and before I realized it, his fishing rod was twitching: the fish was squirming there, and with raging blood I gazed at the betrayed fish. Translation: Emily Ezust Dietrich Fischer-Dieskau (baritone) Gerald Moore (piano)
https://wn.com/Schubert_Die_Forelle_(Fischer_Dieskau,_Moore)
Elly Ameling: The complete "12 English canzonettas Hob.XXVIa/25-36" (Haydn)

Elly Ameling: The complete "12 English canzonettas Hob.XXVIa/25-36" (Haydn)

  • Order:
  • Duration: 43:27
  • Updated: 07 Jan 2016
  • views: 7010
videos
6 English canzonettas (Hob.XXVIa/25-30): I. The mermaid's song 00:00 II. Recollection 03:25 III. Pastoral song 09:11 IV. Despair 12:44 V. Pleasing pain 16:31 VI. Fidelity 19:31 6 English canzonettas (Hob.XXVIa/31-36): VII. The sailor's song 23:49 VIII. The wanderer 26:20 IX. Symphaty 30:34 X. She never told her love 33:38 XI. Piercing eyes 37:47 XII. Content 39:43 Haydn, Joseph (1732-1809) -composer Elly Ameling -soprano Jörg Demus -piano I-VI: written in 1794 and dedicated to Mrs John Hunter VII-XII: written in 1795 and dedicated to Ladie Charlotte Bertie Score: Available for free at imslp.org For more of Haydn's songs check out my "The art of Austrian song: Haydn, Mozart, Schubert, Mahler, Berg" playlist. Description of first six canzonettas by Michael Jameson: The opening number "The mermaid's song" features (quite unusually for this genre) an extended opening ritornello of 21 measures, in Haydn's favored triplet note-groupings, and the vocal part is largely independent from the piano's right hand. The second song "Recollection", a dignified and poignant setting, used to bring tears to Haydn's eyes as he sang it, and its similarity to the minuet from his Symphony No. 97, the work which closed his first triumphant London season in 1792, cannot be mere coincidence. Canzonetta III "A pastoral song", in simple strophic form, became universally famous, though there is evidence to suggest that the text originally fitted the Andante of a Pleyel keyboard sonata, an issue contested by Robbins Landon and other scholars. Robbins Landon adds "this is one of Haydn's few songs which has become immortal, partly because it was sung by all sorts of famous people in the nineteenth century such as Jenny Lind." Canzonetta IV "Despair" has been described as "the best song Haydn ever wrote." Indeed, the declamatory and fully emancipated piano writing anticipates Schubert, and the key-E major-was reserved by Haydn for the expression of the deepest emotions. The title "Pleasing pains" was omitted from the manuscript of the British Museum's original copy in Haydn's own hand, however Canzonetta V again reflects the pastoral imagery of No. 1, in simple 6/8 time, though Haydn skillfully varies the piano accompaniment for the middle stanza. The set ends with "Fidelity", according to Robbins Landon "the most original and forward-looking of the whole series," a quality clearly sensed in the way this song, whilst intended for the cultivated drawing rooms of London society, actually prefigures the world of German Romantic lieder. Description of second six canzonettas by Michael Jameson: Canzonetta I "Sailor's Song" reflects Haydn's interest in the life at sea, and those who lived it. As Robbins Landon adds, "Haydn was all on the English side anyway, so he hardly found it difficult to enter into the swashbuckling, patriotic atmosphere of the poem." Among interesting features of the opening ritornello of this song are horn-like intervals of a fifth, and later, the use of martial, dotted figures in the accompaniment. The second setting "The Wanderer" is a setting in G minor of a haunting, nocturnal poem, filled with fragile imagery which Haydn captures effortlessly in this piece. In the first published edition, Canzonetta III "Sympathy" appeared with the footnote "Translated from the Italian of Metastasio", though the text was heavily adapted by Haydn's English collaborator. As Robbins Landon has stated: "Haydn's musical contemporaries appreciated the delicately balanced form and the subtle use of motifs to bind the whole together." This song was also featured by the influential musical journal the Allgemeine Musikalische Zeitung in its first year of publication, 1799, and was much admired throughout musical Europe. "She never told her Love", Canzonetta IV, is a masterful and original setting of lines from Shakespeare's Twelfth Night, Act II, scene iv. The form is that of a small-scale dramatic scena, and Haydn's setting was cast in the still very new "through-composed" style that would become fashionable among the early German Romantics. The key, A flat, and the performance marking Largo assai e con espressione too, are very unusual, as is the lengthy scene-setting ritornello for the piano. Incidentally, the English were fond of calling Haydn "The Shakespeare of Music"-here he surely lives up to the epithet with masterful aplomb! Canzonetta V "Piercing Eyes" is also entirely freed from strophic constraints, and its easy folk-song style was to be emulated in Haydn's oratorios The Seasons (in which, as Professor Robbins Landon has shown, it is twice quoted directly) and The Creation. The second group of English Canzonettas ends with the song setting "Transport of Pleasure", a conventionally strophic reflection on the delights of love
https://wn.com/Elly_Ameling_The_Complete_12_English_Canzonettas_Hob.Xxvia_25_36_(Haydn)
L'Euridice by Giulio Caccini

L'Euridice by Giulio Caccini

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  • Duration: 4:02
  • Updated: 23 Aug 2013
  • views: 1935
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Innsbrucker Festwochen der Alten Musik 2013 Euridice, Tragedia Silvia Frigato (soprano) Orfeo Furio Zanasi (baritone) Dafne, Proserpina Sara Mingardo (alto) Venere Monica Piccinini (soprano) Arcetro Giampaolo Fagotto (tenor) Plutone Antonio Abete (bass) Aminta, Tirsi Luca Dordolo (tenor) Caronte Mauro Borgioni (baritone) Radamanto Matteo Bellotto (bass) Choir and instrumental ensemble Concerto Italiano Musical director and harpsichord Rinaldo Alessandrini Stage director and costumes Hinrich Horstkotte Stage design Nicolas Bovey Composta in Musica in Stile Rappresentativo by Giulio Caccini (1551--1618) Libretto by Ottavio Rinuccini Thirst printed version: 1600 Premiere: 1602, Florence In an attempt to revive classical Greek tragedy, the opera genre came into being around 1600 in the Florentine Camerata. Some of the recitative singing in Caccini's "L'Euridice", the first opera ever to be printed, merged into early little arias. The then common practice of polyphonic madrigals continued in scenes with strophic choruses. The pioneering work will be brought to life by Rinaldo Alessandrini and his Concerto Italiano in Innsbruck.
https://wn.com/L'Euridice_By_Giulio_Caccini
Cantiones Natalitiæ - Dutch Christmas carols from the Southern Netherlands in the 17th century

Cantiones Natalitiæ - Dutch Christmas carols from the Southern Netherlands in the 17th century

  • Order:
  • Duration: 7:39
  • Updated: 20 Nov 2010
  • views: 14932
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A new genre of polyphonic Christmas carols that developed in the Southern Netherlands during the seventeenth century was called cantiones natalitiæ. These were sacred songs in Dutch (Flemish) or Latin, in simple, strophic four-part settings with figured bass. The composers of early seventeenth-century cantiones natalitiae were local church musicians of Antwerp, Brussels, and Ghent. The carols, mostly based on pre-existing songs, were sung in connection with Christmastide devotional services, especially the evening Marian Salve service. The earliest Flemish carols were published in the Laudes vespertinæ of 1604 and 1609. The three selected Christmas songs were all published in Antwerp in the 17th century and are by Guilielmus Messaus (1589-1640), by an unknown composer and by Joannes Berckelaers (?Antwerpen ±1630-?Antwerpen ±1700). 1) Guilielmus Messaus, Lof sy dat soete kindeken cleyn (1629) (performed by Camerata Trajectina (http://www.camerata-trajectina.nl)) 2) Incognito, O herders al soetjens (1651) (see for lyrics and other songs to the same tune: http://www.dbnl.org/tekst/duys001oude03_01/duys001oude03_01_0021.php ) (performed by Early Music New York) 3) Joannes Berckelaers, Titer wat een goede maer (1667) (see for lyrics: http://books.google.be/books?id=QzLaAAAAMAAJ&q=%22Titer+wat+een+goede+maer%22&dq=%22Titer+wat+een+goede+maer%22&hl=nl&ei=rf_nTJ7RBcGVOvGc7dQK&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCgQ6AEwAA) (performed by Guy de Mey and Knapenkoor in Dulce Jubilo) Images: 00:19 Portrait of Archduchess Isabella Clara Eugenia, Spanish Regent of the Low Countries from 1621 to 1633, as a Nun, 1625, by Peter Paul Rubens, Norton Simon Art Foundation 00:44 Adoration of the Magi, between 1618 and 1628 ?, by Peter Paul Rubens and his workshop (Anthony van Dyck?), Brussels, Museum of Fine Arts 01:10 Adoration of the Magi, 1624, by Peter Paul Rubens (and his workshop?), Antwerp, Royal Museum of Fine Arts 01:58 Archduke Leopold Wilhelm of Austria, the Governor of the Spanish Netherlands from 1647 to 1656, as marshal, 1652, by David Teniers the Younger, Vienna, Kunsthistorisches Museum 02:37 Brabant, Hainaut and Flanders honour the Virgin Mary, 1654, by Theodoor van Thulden, Vienna, Kunsthistorisches Museum 03:22 Adoration of the Shepherds, between 1630-1640?, by Theodoor van Loon, Paris, Louvre 04:00 Adoration of the Magi, by Theodoor van Loon, Vienna, Lichtenstein Museum 04:32 King Charles II of Spain, ruler of the Spanish Netherlands, as a child, 1666 (?), ascribed to David Teniers III, Brussels, Royal Museums of Fine Arts 05:10 Adoration of the Shepherds, by Jacob Jordaens, Athens, National Art Gallery 05:55 Adoration of the Magi, by Jacob Jordaens, Cherbourg, Musée Thomas Henry 06:36 Coronation of the Virgin Mary, 1630, by Cornelis Schut 07:07 The 1670 edition of the Cantiones natalitiæ by Johannes Berckelaers, published in Antwerp
https://wn.com/Cantiones_Natalitiæ_Dutch_Christmas_Carols_From_The_Southern_Netherlands_In_The_17Th_Century
Silent Night (with lyrics)

Silent Night (with lyrics)

  • Order:
  • Duration: 2:57
  • Updated: 14 Dec 2008
  • views: 19288350
videos
https://wn.com/Silent_Night_(With_Lyrics)
TripHop Techno Mania

TripHop Techno Mania

  • Order:
  • Duration: 6:58
  • Updated: 20 Jul 2014
  • views: 55
videos
Techno Music Productions AKA IceWizardy 949 Orange County,CA Beat Productions studio Hit me for $20 dollar exclusives or $5 single customized productions. You know what it is, hit up yo boy and subscr
https://wn.com/Triphop_Techno_Mania
Bejun Mehta: The complete "3 Shakespeare songs Op. 6" (Quilter)

Bejun Mehta: The complete "3 Shakespeare songs Op. 6" (Quilter)

  • Order:
  • Duration: 6:57
  • Updated: 30 Aug 2014
  • views: 3743
videos
3 Shakespeare songs (Op. 6): I. Come away, death 00:00 II. O mistress mine 02:53 III. Blow, blow, thou winter wind 04:24 Quilter, Roger (1877-1953) -composer Bejun Mehta -countertenor Julius Drake -piano Playlist: "The art of British song: Elgar, Somervell, Williams, Finzi..": https://www.youtube.com/playlist?action_edit=1&list=PLdM8VSWYvcWG_X-lGBATHMoJTGPlAV1TQ Score: http://burrito.whatbox.ca:15263/imglnks/usimg/4/4c/IMSLP218532-SIBLEY1802.20489.bda5-39087013698479score.pdf Roger Quilter's first group of songs setting texts of Shakespeare, from 1905, was so successful that the composer was often (and with similiar success) to return to the Bard's work. Quilter was, of course, only one of the legion of composers who found inspiration in Shakespeare, but his sensitive, artistic settings are a breed apart. The three songs of Op. 6 are among the best of English art songs from the early twentieth century. The first song, "Come away, Death," from Twelfth Night, achieves a state of melancholy but avoids depression, which is appropriate for its context in the play. Quilter uses melodic sequence and repetition in creating a highly singable melodic line. As often occurs in Quilter's songs, the second verse is varied in the accompaniment rather than the melody, and the piano wreathes arpeggiated triplets around the melodic line. "O Mistress mine," also from Twelfth Night, is a charmingly persuasive air notable for its consistently disjunct melodic line. Yet in Quilter's hands the intervals always make vocal sense. The accompaniment and vocal line coexist flirtatiously, echoing the ambiguous relationship of the singer and his intended: sometimes meeting up, and sometimes going separate ways. The final song, "Blow, blow, thou Winter Wind," is a fitting end to the set, combining elements of the previous two songs. The text, from As You Like It, combines a bitter verse with a less pessimistic refrain. Quilter sets the verse in minor and the refrain in the parallel major, resulting in an infusion of optimism. Two different time signatures also enhance the difference between the two sections, one funereal and one dancelike. The accompaniment, notably, is identical between the two stanzas. Each of the three songs, like so many of Quilter's others, are in a modified strophic form, with a single repetition. As a unit, they coexist remarkably well, for example in their tonal structure: the minor of the first gives way to its relative major in the second, and then returns to the minor for the third. Quilter orchestrated the three songs as well, for piano and strings, but much later, near the conclusion of his compositional career, in 1944 and 1945. Source: http://www.allmusic.com/composition/shakespeare-songs-3-for-voice-piano-or-orchestra-op-6-mc0002367727 Buy the CD here: http://www.amazon.com/Down-Salley-Gardens-Bejun-Mehta/dp/B00585QLZK/ref=sr_1_2?ie=UTF8&qid=1409409395&sr=8-2&keywords=bejun+mehta
https://wn.com/Bejun_Mehta_The_Complete_3_Shakespeare_Songs_Op._6_(Quilter)
Sad, but Beautiful Music

Sad, but Beautiful Music

  • Order:
  • Duration: 1:45
  • Updated: 28 Aug 2013
  • views: 293
videos
A sad, but very heart touching music! Subscribe: youtube.com/user/610fatima New Video every Friday, so check out! Read my blog: http://sadmusic1.blogspot.ca/2013/08/hello-everyone-this-is-just-very-quick.html Ending by: dreamscence.org
https://wn.com/Sad,_But_Beautiful_Music
Giulio Caccini - Amor, io parto - Montserrat Figueras

Giulio Caccini - Amor, io parto - Montserrat Figueras

  • Order:
  • Duration: 3:31
  • Updated: 11 Aug 2008
  • views: 72274
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High resolution and stereo sound: http://www.youtube.com/watch?v=ClXFHhaACgs&fmt=18 Giulio Caccini (1551--1618) Amor, io parto Madrigal for soprano voice, from "Le nuove musiche, 1601" set on an anonymous text In this recording: Montserrat Figueras, soprano Hopkinson Smith, baroque guitar Harmonia Mundi The score I used is from a facsimile copy of Caccini's Le Nuove Musiche, 1601. I didn't edit the score at all, except that I cleared the specks around it . Here and there, the text may not be so easy to read on the score. But, as always, I included the text in modern spelling and the translation. "Caccini's Le Nuove Musiche is a collection of works for solo voice and basso continuo. Caccini uses two distinct compositional styles in the collection: twelve "madrigals" -- through-composed, somewhat rhythmically-free compositions with rhapsodic passages designed to emphasise the important words in the text -- and ten "arias" which are shorter and usually strophic. ... The type of solo "madrigal" pioneered by Caccini is distinguished from the polyphonic madrigal which was the most popular form of secular composition during the late Renaissance." - Sheila Barnes "Madrigals are, according to Caccini's definition, through-composed one part pieces which are usually elaborately ornamented on non-strophic texts whose metric structure is irregular. ... One main theme dominates all of the poems upon which Caccini's Nuove Musiche is based: love. Two literary forms reflect the two aspects of love, the elegiac madrigal, in which the plaint of the hapless lover finds its expression, and the canzonetta, in which the joy of reciprocated love and the rapturous desire of the young lover is celebrated in many stanzas. In setting the madrigals Caccini chose a free recitative form, whereas the canzonette find their musical counterpart in rhythmically striking arie, which bear similarity to dance songs" - Silke Leopold "Among the notational innovations developed by Caccini was the specification and writing out of ornamentation. Previously, ornamentation had always been left to the discretion of the performers. In order to eliminate "excesses" on the part of singers (which presumably obscured the text), Caccini wrote out the music exactly as he wished it to be performed. He did, however, still allow for improvisation to emphasise significant words and cadences. The use of ornamentation was thus restricted to expressing the text, and was no longer an end in itself, as had been the case in earlier vocal practice. One type of ornamentation specified by Caccini, which may be less familiar to modern ears is the trillo: a kind of "tremolo" in which fluctuations of intensity are sounded like a reiteration of the note. Caccini includes the trillo in "the good manner of singing" as a thing written one way, but sung another way "for more grace" and "refinement" ("squisitezza"), qualities of which Castiglione would have approved." - Sheila Barnes Original text: Amor, io parto, e sento nel partire al penar, al morire, ch'io parto da colei ch'è la mia vita, se ben ella gioisce quand'il mio cor languisce. O durezza incredibil'e infinita d'anima che 'l suo core può restar morto, e non sentir dolore! Ben mi trafigge amore l'aspra mia pen', il mio dolor pungente, ma più mi duol il duol ch'ella non sente. Translation (by Flavio Ferri Benedetti): Love, I depart, and I feel while I part, while I suffer and while I die, that I part from her who is my life, although she rejoices when my heart languishes. O incredible, endless harshness of the soul: her heart can die without feeling pain! Love pierces well my bitter pain and my sharp grief, but even more painful is the grief that she does not feel.
https://wn.com/Giulio_Caccini_Amor,_Io_Parto_Montserrat_Figueras
Just intonation in the Renaissance

Just intonation in the Renaissance

  • Order:
  • Duration: 14:11
  • Updated: 06 Oct 2016
  • views: 6802
videos
For the footnotes and other extra information see the following link: http://tinyurl.com/hncqzcv http://www.earlymusicsources.com/home/more/youtube/justintonation Created by Elam Rotem, Oren Kirschenbaum and Johannes Keller http://www.earlymusicsources.com Audio, video and animations by Mel et Lac (http://www.meletlac.com) The sound samples were made using a special program developed by Johannes Keller (http://www.projektstudio31.com)
https://wn.com/Just_Intonation_In_The_Renaissance
String Chamber เพลง Song form Secret Garden

String Chamber เพลง Song form Secret Garden

  • Order:
  • Duration: 3:39
  • Updated: 31 Oct 2013
  • views: 106
videos
https://wn.com/String_Chamber_เพลง_Song_Form_Secret_Garden
[Official Video] Silent Night (Live) - Pentatonix

[Official Video] Silent Night (Live) - Pentatonix

  • Order:
  • Duration: 3:42
  • Updated: 25 Nov 2014
  • views: 13896119
videos
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https://wn.com/Official_Video_Silent_Night_(Live)_Pentatonix
SMN6; DEFILONS VERT! (introducing Vste Entertainment)

SMN6; DEFILONS VERT! (introducing Vste Entertainment)

  • Order:
  • Duration: 4:25
  • Updated: 22 Dec 2011
  • views: 2845
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DEFILONS VERT! SMN Fronline Fashion Series, 2011 FOLLOW OUR FEED http://www.shootmenow.ca Featured Musician; Saya -- 'Ride Your Train' http://www.sayaofficial.com Mardi, le 29 novembre 2011, à la Salle Bain Mathieu, Vste | Entertainment vous présente DÉFILONS VERT! Un défilé de mode à but non-lucratif mandaté par la fondation des jeunes pour l'environnement au profit d'ÉQUITERRE. Nous sommes fières de vous présenter la ligne SURIN de l'ex-champion olympique d'athlétisme Bruny Surin et de plusieurs designers de la semaine de la mode de Montréal, tels que: anomal couture, Dinh Bà Design, Myco Anna, Lu Shyne et de plusieurs autres. C'est un évènement à ne pas manquer. Aidons à la cause: poursuivonslechangement.com Pour plus d'informations appeler au 514-993-4059 ou sur http://www.vsteentertainment.com ------ Tuesday, November 29th, 2011, at the Salle Bain Mathieu, Vste | Entertainment present: DÉFILONS VERT! A non-profit fashion show commissioned by the Foundation of Youth for the Environment in favor of ÉQUITERRE. We are proud to present the line SURIN of former Olympic athletics champion Bruny Surin and many designers of the fashion week of Montreal, such as anomal couture, Dinh Bà Design, Myco Anna, Lu Shyne and many more. Don't miss you chance to joint us and Help the cause: poursuivonslechangement.com For more information or an admission: call 514-993-4059 or http://www.vsteentertainment.com
https://wn.com/Smn6_Defilons_Vert_(Introducing_Vste_Entertainment)
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