28 Results for : szekely

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    Jatekok 6 (Spiele für Klavier)
    FUER DORA ANTALS GEBURTSTAG + 2 FASSUNG|VERSETTO TEMPTAVIT DEUS ABRAHAM|VERSETTO CONSURREXIT CAIN ADVERSUS FRATREM SUUM|VERSETTO DIXIT DOMINUS AD NOE FINIS UNIVERSE CARNIS VENIT|SINTFLUT SIRENEN|APOKRYPHE HYMNE|EINE BLUME FUER NURIA|PAEAN|BRIEF AN MARIANNE TEOKE|AEFFEREI|Ungarischer Sprachkurs für Ausländer|GRUNDELEMENTE 1 + 2|DIDARIDA DIDADI|PHAN FAHR ZUERN|AUBER TOENE|TREU MAEHRISCH|WEIHNACHTSGRUSS AN HEINI|WAHL ZERR|BOTSCHAFT AN ANDRAS SZOELLOESY|Marina Zwetaewa es ist an der Zeit|IN MEMORIAM PAL JARDANYI|DO MI D'ARAB|LES ADIEUX IN JANACEKS MANIER|ANDRAS HAJDU IST 60|MEG AZ EDES MEZ IS|IN MEMORIAM TIBOR SZESZLER|GEBURTSTAGSELEGIE FUER JUDIT|DOINA|STILLER ABSCHIED VON ENDRE SZEKELY|AN STEFANIA MANDY|IN MEMORIAM LAJOS VASS|Waiting for Susan|LIGATURA X + Y|LENDVAI ERNOE IN MEMORIAM|NOCH EIN WORT ZU ERNOE LENDVAI|ZEILEN FUER ZSUSZA SIROKAY|IN MEMORIAM DR GYOERGY NADOR|VON ANGESICHT ZU ANGESICHT|HUMBLE REGARD SUR OLIVIER MESSIAEN|IN MEMORIAM ANDRAS MIHALY
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    Dorothea in the Mirror
    Dorothea in the Mirror ab 36.49 € als gebundene Ausgabe: A Jill Szekely Mystery. Aus dem Bereich: Bücher, Belletristik, Krimis,
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    • Price: 36.49 EUR excl. shipping
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    Dorothea in the Mirror
    Dorothea in the Mirror ab 25.49 € als Taschenbuch: A Jill Szekely Mystery. Aus dem Bereich: Bücher, Belletristik, Krimis,
    • Shop: hugendubel
    • Price: 25.49 EUR excl. shipping
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    Do You Like Banana, Comrades?: A BBC Radio 4 dramatisation, Hörbuch, Digital, 43min
    It's difficult being young and in love when your dad is a high-ranking official in Ceausescu's Communist machine, your mother weeps all the time, and your brother is trying to kill you. This wild and sideways look at life behind the Iron Curtain during Ceausescu's regime is a first play by a young Hungarian writer living in Romania and was shortlisted for the BBC World Service/British Council's International Playwriting Competition. Starring Freddy White, Michael Begley, Jane Whittenshaw, Julia Tarnoky, Brian Bowles, Daniel Rabin, and Luke Newberry and directed by Marion Nancarrow. Says Szekely of himself: "I'm 28 years old. I used to be the cultural editor of a weekly magazine, then cultural editor at the local radio station. Now I'm just a writer. I'm also a translator (from Romanian and English to Hungarian) always looking for a job. I write movie reviews and book reviews, too. I'm not famous". Language: English. Narrator: Freddy White, Jane Whittenshaw. Audio sample: https://samples.audible.de/bk/bbcw/005490/bk_bbcw_005490_sample.mp3. Digital audiobook in aax.
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    Night of the Humpbacked Moon
    Night of the Humpbacked Moon ab 23.99 € als Taschenbuch: A Jill Szekely Mystery. Aus dem Bereich: Bücher, Taschenbücher, Romane & Erzählungen,
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    • Price: 23.99 EUR excl. shipping
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    Zoltan Szekely And The Hungari
    Ungarian Quartett, Zoltan Szekely 1937-1968
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    • Price: 61.09 EUR excl. shipping
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    Variations on 1930
    This album is comprised of piano gems from 1927-1933 incorporating compositions ranging from Kodály's ethnic explorations to Tatum's sparkling riffs on American music theater. My inspiration came from an offhand comment while talking with my friend, Bill Bordonaro, at Bethany Church (where I am the music director and this album was recorded). Bill mentioned that the sanctuary of the church, the last part to be built, was completed in 1930 - just after the start of the Great Depression. The time frame sparked a desire in me to explore how the historical events of this period affected the music of the time in the United States and globally. The true problem was culling the great works, there is music enough for many albums but I started here. This recital was performed in Toronto, February 5, 2013 at the Richard Bradshaw Amphitheater's recital series where it received critic's pick and, subsequently, came home to Bethany Church in Chicago on May 11, 2013. Zoltan Kodály composed the piano version of Dances of Marosszék (Marosszéki táncok) in 1927 and decided it's colorful, folk-inspired music would adapt well to a full orchestration (completed in 1930). Kodály, like his compatriot and friend Bartók, devoted much time to the collection and arrangement of ethnic music. The six tunes used here were collected in Marosszék, a town in the Szekely region (formerly of eastern Hungary, currently of Romania). Kodály reveals in his notes for the orchestral version that the dances are originally from "Fairyland", otherwise known as Transylvania (Dracula and fairies...). The dances are quite a ride from heavy to creepy, finally to a swirling explosive coda. Poulenc is the perfect balm for the bombast at the end of the Kodály. The novelette in C major is the epitome of neoclassical piano beauty. Poulenc eschews his normally lush harmony for a more restrained palette which allows for the melody to come to the fore. One can almost hear Bach (C major prelude from the well-tempered clavier book 1) or Brahms (Op.117, #1) but with "Poulencian" wit. The second novelette in B flat minor is a scherzo humoresque, more typical of the whimsical side of Poulenc. I paired the novelettes with the valse-improvisation sur le nom de BACH, composed in 1932. The waltz, dedicated to Vladimir Horowitz, is a miniature with lush harmonies and wide melodic leaps, finishing with a bravura octave passage. Sergei Rachmaninoff arranged Bach's Violin partita in E Major in 1933, during a period of relatively little compositional output due to his extensive concertizing. His transcription consists of three of Bach's original six movements. Rachmaninoff follows the original Bach structure, but seamlessly fleshes the single line out for the piano in a way that is personal and satisfying. The prelude begins exactly as Bach's original with just with one line that gradually expands and finishes in a flurry of Rachmaninovian brilliance - an ending that is equal parts Bach and Rachmaninoff. The gavotte is a light, almost jazzy take on the dance with an elegant and controlled development and good use of contrast between piano registers. The gigue is contrapuntally dense and adds a fuller bass line. The three character pieces of Benjamin Britten were composed when he was 17 in his first semester at the Royal Conservatory. I describe the three pieces as restless arioso, bittersweet lullaby, and moto perpetuo - Britten lists only the tempo markings and dedications (informally to his school friends). When selecting these pieces, I played them for my musician friends and asked them to guess the composer/school in which they were composed. Invariably, the response was that the composer was French, and there was always great surprise when I revealed Britten as the composer. Fleurs de France are 8 miniatures that were composed in 1930 by one of Les Six - the only female composer, Germaine Tailleferre. The pieces are spare and concise, yet poignant and fluid. Tailleferre created these pieces in the midst of her most fruitful period of composition. Most of the pieces have a simple ABA form which is elegantly obscured by simple changes in harmonization and figuration. Each piece describes a flower: Jasmin de Provence, Coquelicot de Guyenne, Rose d'Anjou, Tournesol du Languedoc, Anthémis du Roussillon, Lavandin de Haute-Provence, Volubilis de Béarn, and Bleuet de Picardie. Copland's Piano Variations stands as a stark and stentorian presence between his earlier jazz influenced works and later populist works. I became acquainted with the work from my teacher in high school, Dan Plante. He recommended that I learn the variations for my senior recital. Always up for a challenge, I fell in love with the work. The economy of means, development, and declamatory piano writing resonated with me. The work became the backbone of many of my concerts. As I was researching these liner notes and the lectures I gave surrounding the recital, I came across this article that Leonard Bernstein wrote about the Variations contextualizing the piece and it's composer: In the fall of 1937 I had just begun my junior year at Harvard. Although I had never seen Copland, I had long adored him through his music. He was the composer who would lead American music out of the wilderness, and I pictured him as a cross between Walt Whitman and an Old Testament prophet, bearded and patriarchal. I had dug up and learned as much of his music as I could find, the Piano Variations had virtually become my trademark. I was crazy about them then--and I still find them marvelous today--but in those days, I especially enjoyed disrupting parties with the work. It was the furthest you could go in avant-garde 'noise,' and I could be relied upon to empty any room in Boston within three minutes by sitting down at the piano and starting it. The theme of the Piano Variations is made up of intentionally dissonant intervals, illustrating a tension between the major and minor thirds. The theme is declaimed in single notes using sympathetic vibrations to create ghostly sonic "after-images". Twenty variations follow, concluding with a massive rhythmically unsettled coda. Out of avant garde and swing emerged perhaps the greatest pianist of the 20th century, Art Tatum. His technique was a thing of beauty, impeccable and unimpeded. His style was absolutely his own: rococo, baroque, ornamental, witty and fast ... outrageously fast ... and he played this way mostly blind (cataracts at birth, assaulted in 1930). In 1993, J. A. Bilmes, an MIT student, invented a term that is now in common usage in the field of computational musicology: the Tatum. It means "the smallest perceptual time unit in music" and is a tribute to Tatum's pianistic velocity. He took stride piano and stretched it in every direction, improvising ornate cadenzas á la Liszt and making free use of colorful harmonic substitution. He was one of the major inspirers of bebop and many of the luminaries of the classical music world were avid admirers of Art Tatum's playing, in particular, Horowitz. At one point, Horowitz, so impressed by Art Tatum's playing, composed a set of virtuosic variations on Tea for Two, which he played Art Tatum. Tatum said "very good, I enjoyed it". Tatum then sat down and played his own set variations. Horowitz, stunned at the brilliance of Tatum's performance, asked "when did you come up with this?" Tatum said "Oh, I was just improvising". Horowitz then threw out his manuscript and vowed never to play Tea for Two in public again. There is debate over whether or not this story is true, regardless, it's a great story and shows the extent to which Art Tatum was admired by his virtuosic pianist peers. An album like this does not simply rise out of the ether and is not a solo creation. I am deeply indebted to the many individuals who helped make this happen: Nina Draganic, who programmed this recital in Toronto and came up with the catchy title, Bethany United Church of Christ and pastor Bill Bor
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    ... und deine Liebe auch & Sonntagsfahrer
    Der Bau der Berliner Mauer am 13. August 1961 war ein historisches Ereignis, das die deutsche Geschichte der Nachkriegszeit entscheidend prägte und das in den Filmen der DDR gerechtfertigt werden musste. Die Doppel-DVD stellt erstmals Filme von renommierten Filmregisseuren vor, die zum Teil schon während des Mauerbaus entstanden und auf die aktuellen Geschehnisse zu reagieren versuchten. Dies reicht vom agitatorischen Dokumentarfilm SCHAUT AUF DIESE STADT über den halbdokumentarischen Spielfilm. UND DEINE LIEBE AUCH und den Versuch einer Satire SONNTAGSFAHRER bis hin zu zwei Episoden des Films GESCHICHTEN JENE NACHT.Die Filme. und deine Liebe auch – DDR 1962 – Regie: Frank Vogel – Drehbuch: Paul Wiens – Kamera: Günter Ost – Musik: Hans-Dieter Hosalla – Darsteller: Urich Thein, Armin Mueller-Stahl, Kati Szekely, Katharina Lind, Alfonso Arau – Produktion: DEFA-Studio für Spielfilme, Babelsberg – Premiere: 27. September 1962Sonntagsfahrer – DDR 1963 – Regie: Gerhard Klein – Drehbuch: Karl Georg Egel, Wolfgang Kohlhaase – Kamera: Helmut Bergmann – Musik: Wilhelm Neef – Darsteller: Harald Helgardt, Herwart Grosse, Irene Korb, Erich Gerberding, Ellinor Vogel, Angelica Domröse – Produktion: DEFA-Studio für Spielfilme, Babelsberg – Premiere: 30. August 1963Schaut auf diese Stadt – DDR 1962 – Drehbuch und Regie: Karl Gass – Kommentar: Karl-Eduard von Schnitzler – Kamera: Hans Dumke, Hans-Eberhard Leupold – Musik: Jean Kurt Forest – Produktion: DEFA-Studio für Dokumentarfilme, Berlin – Premiere: 13. August 1962Materna – DDR 1967 – Regie: Frank Vogel – Drehbuch: Werner Bräunig, Frank Vogel – Kamera: Claus Neumann – Musik: Günter Hauk – Darsteller: Urich Theiß, Angelika Waller, Johannes Wieke, Werner Dissel, Rank Reckslack, Winfried Glatzeder – Produktion: DEFA-Studio für Spielfilme, Babelsberg – Premiere: 9. Juni 1967Der große und der kleine Willi – DDR 1967 – Regie: Gerhard Klein – Drehbuch: Helmut Baierl, Gerhard Klein – Kamera: Peter Krause – Musik: Wilhelm Neef – Darsteller: Erwin Geschonneck, Jaecki Schwarz, Christoph Engel, Rudolf Ulrich, Ernst-Georg Schwill – Produktion: DEFA-Studio für Spielfilme, Babelsberg – Premiere: 9. Juni 1967DVD-Authoring: Tobias DresselDVD-Supervision: Stefan DrösslerDVD 1. UND DEINE LIEBE AUCH 1962, 89 Min.SCHAUT AUF DIESE STADT 1962, 81 Min.Booklet mit Texten von Ralf Schenk und Stefan DrößlerDVD 2SONNTAGSFAHRER 1963, 84 Min.MATERNA 1967, 15 Min.DER GROSSE UND DER KLEINE WILLI 1967, 32 Min.
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