25 Results for : recitative

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    Concert + contest collection
    CHAILLEUX A ANDANTE + ALLEGRO|At the hearth (Suite miniature) / Gretchaninoff Alexander|Canzonetta + Giga / Ostransky Leroy|CONCERTANTE / Paladilhe Emile|BARET J ED ELEGIE|Evening Waltz (Suite miniature) / Gretchaninoff Alexander|COMBELLE F FANTAISIE MAURESQUE|CONCERTINO 1 / Guilhaud Georges|INTRODUCTION + RONDO / Ostransky Leroy|LARGO + ALLEGRO (SONATE 6) / Händel Georg Friedrich|POULAIN S MELODIE|Menuett (aus Haffner Serenade) / Mozart Wolfgang Amadeus|KOEPKE P RECITATIVE + ALLEGRO|Sonatine (aus Trio 5) / Haydn Joseph
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    Songs Duets Recitative Etc. In The Grand Opera Of The Somnambula (1836)
    Songs Duets Recitative Etc. In The Grand Opera Of The Somnambula (1836) ab 35.49 € als gebundene Ausgabe: . Aus dem Bereich: Bücher, English, International, Gebundene Ausgaben,
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    Songs Duets Recitative Etc. In The Grand Opera Of The Somnambula (1836)
    Songs Duets Recitative Etc. In The Grand Opera Of The Somnambula (1836) ab 22.99 € als Taschenbuch: . Aus dem Bereich: Musik, Noten & Musiktheorie,
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    Tommaso Traetta and the Fusion of Italian and French Opera in Parma
    In 1759 the court of the Italian Duchy of Parma adopted the inspiration of cultural creators who recommended a reform of Italian opera along French lines. These writers favored combining Italian-style music with the wider range of musical genres and scenic variety of French opera. As the prize-winning music critic and commentator George W. Loomis shows in this groundbreaking volume, the young composer Tommaso Traetta was engaged to create new operas responding to these demands. As Loomis deftly demonstrates, Traetta's operas were largely oriented toward the formal aria, a byproduct of making Italian music an essential component of this cross-cultural fusion. Nevertheless, they were strikingly innovative in their use of chorus, integrated dance, and accompanied recitative. Structurally, the operas reflect the French distinction between scenes of action and divertissements. After a brief flowering in the 1760s, the project was abandoned, primarily for lack of interest, but Traetta's Parma operas deserve a previously unrecognized place in the history of Western music for their stimulation of opera seria in Italy and beyond. This included the works of Wolfgang Amadeus Mozart, whose genre-defining Idomeneo (1781) proved a turning point in the development of opera.
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    Il Sogno di Scipione K 126
    Composed in 1771 as a celebratory homage to Prince Archbishop Sigismund Schrattenbach of Salzburg, the Archbishop died before the piece could be performed. In the spring of 1772 Mozart amended the work so that it could be used in honour of Schrattenbach's successor, Hieronymus Colloredo - the only necessary change was to alter the name of the dedicatee in the final recitative.
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    Brahms: Complete Works for Organ, Schoenberg: Variations on a Recitative
    No description.
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    Orgelwerke
    Schoenberg: Variations on a Recitative - Reger: Benedictus Variations on an Original Theme
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    Europakonzert 1991
    "Aufnahme" Live from the Smetana Hall Prague, 1991 "Musik" Conductor: Claudio Abbado Cheryl Studer, soprano Bruno Canino, piano "Werke" - Don Giovanni K. 527: Overture, Crudele! Ah no, mio bene!, Non mi dir, bellidol mio - Symphony No. 29 in A major K. 201: Allegro moderato, Andante, Menuetto Trio, Allegro con spirito - Recitative and Rondo K. 505: Chio mi scordi di te ? - Non temer, amato bene - Symphony No. 35 in D major K. 385: Haffner: Allegro con spirito, Andante, Menuetto Trio, Finale Pres
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    Trio Nahual
    The program presented on this CD is made up, for the most part, of works seldom played in the world of chamber music for classical guitar, and dedicated to the even rarer formation of the trio. Nevertheless, the aim is to present a repertoire chosen from pieces having in common, beauty and depth of feeling. In order to compose a typical recital program ranging from the Baroque period to the present day, different sources have been used, such as, for example, the transcription technique, ever attentive to the real essence of the work. We have also explored the 'historical' repertoire for three guitars, and, lastly, we have introduced new pieces, which enrich the contemporary repertoire for this formation. Furthermore, we consider that the use of three identical guitars made by the same luthier helps to create the sense of listening to one single instrument, in complete accordance with our philosophy of 'making music together'. Our program begins with the only work not originally intended for guitar trio: an unusual transcription of the G major Concerto for two mandolins, strings and basso continuo (RV 532) by Antonio Vivaldi (Venice, 1678 - Vienna, 1741). Phenomenal violinist and prolific composer of concertos, the Red Priest wrote this piece for the 'figlie di choro', a large instrumental and choral ensemble entirely composed of young girls taken in and educated by the Pio Ospedale della Pietà, a prestigious Venetian orphanage noted for the high quality of the musical education imparted there. Since the Concerto for two mandolins is composed in effect of three real parts, with the violins doubling the solo instruments during the Tutti, the arrangement foresees two guitars for the melodic parts (mandolins and first and second violins), whilst a third instrument is assigned to playing the basso continuo (originally played by a cello and a polyphonic instrument). The concerto bases the structure of it's three movements on the principle of a continual search for a strong contrast of sound and is composed in Vivaldi's most typical creative and stylistic vein, defined by Joachim Quantz as 'a new genre of musical pieces with magnificent ritornellos'. Such a contrast of sound, both harmonic and melodic, is realized magnificently through the continuous dialogue between the two mandolins, moving freely from the brilliant, virtuoso character of the two fast movements to the splendid cantabile of the central Adagio. Leaving behind the Italian Baroque period, we now move towards the elegant classicism that permeates the Trio Concertant pour trois guitares Op. 29 in D Major by the French composer Antoine L'hoyer (Clermont - Ferrand, 1768 - Paris, 1852). Despite the fact that the figure of L'hoyer received little attention during his lifetime, to be then completely forgotten for over a hundred years, the great artistic value of his recently rediscovered compositions assures his right today to be considered one of the most interesting composers for the guitar of the nineteenth century. The piece is divided into four movements following the archetype of the classical sonata. It opens with a substantial Allegro moderato in sonata form, which rebels against the usual patterns of musical writing for the guitar by searching out, during the development, the most daring harmonies that one could wish. The second movement, on the other hand, is a short Menuetto in E minor with a Da Capo finale, and a poco vivace tempo but with a playful contrasting central Trio in the major key. The third movement is an Adagio molto cantabile, characterised by melodies that are simple and flowing but not lacking in great lyricism. A brilliant Andante with variations closes the whole cycle underlining throughout the six variations all the typical possibilities of the guitar writing of the period. Although the Trio Concertant would seem to be less striking when compared to the virtuoso duets for guitar, they share an excellent instrumental effect, underlining all the qualities of the unusual group of instruments to which it is dedicated. It could be said that here, too, L'hoyer's refined writing arises as a veiled tribute to the great piano composers - Haydn and Mozart - to whom he surely owes his inspiration. The exquisite composition that Jean-Michel Damase (Bordeaux, 1928) dedicated in 2004 to the guitar trio, takes us to modern-day France, in spite of being devoted to evoking a nostalgic retro mood. Quatre pour trois, in fact, does nothing to hide the deep admiration that Damase professes for the Parisian music of the Belle Époque period and, of course, for it's distinguished founders, Debussy, Fauré and Ravel. The charm and elegance of his works remain true to the stylistic tradition learnt at the Paris Conservatoire where his composition studies earned him, at only nineteen years of age, the Prix de Composition and subsequently the prestigious Prix de Rome. The four extremely short bagatelles that make up the work, entitled simply I, II, III, IV, remind us of the tiny musical pieces placed within the eccentric French piano suites. The real difficulty of these short pieces, however, proves to be not so much a technical one as a creative quest among different shades and colours in order to highlight the dialogue between the guitars. Functioning as a kind of stylistic watershed, the following piece, takes us towards the Central European cultural scene, which developed right at the very beginning of the Twentieth Century. In spite of it's small size, the Rondo fur Drei Gitaren by the German composer Paul Hindemith (Hanau, 1895-Frankfurt en Main, 1963) can without doubt be considered one of the masterpieces of the chamber music repertoire for the classical guitar. Conceived as a musical intermezzo, the Rondo was composed in 1925 within the new musical language that Hindemith developed from the 1920's onwards, characterized by a complex contrapuntal style already distant from the Expressionism and late German Romanticism that imbued the works of his youth. This new style found extensive space for research in the music for instrumental groups to which Hindemith dedicated a series of works written between 1922 and 1927, called simply Kammermusik. The mechanicalness of the Rondo, with the aggressive rhythm of it's counterpoint and it's anti-Romantic 'assembly-line' tempo correspond to the ideal of music that found broad confirmation in the Italian artistic movement known as Futurism. It was not by chance that Marinetti, the author of the Manifesto that exalted technology, progress and the dynamism of industry, defined Hindemith, perhaps after having listened to Chamber music, 'the leading figure of futurist mechanism'. We end the musical journey undertaken in this CD by returning once more to Italy, where we began. Two pieces are now presented written expressly for the Trio Nahual by the young guitarist, composer and painter Marco De Biasi (Vittorio Veneto, 1977). The first piece, Eires (The title is derived from the word 'serie' read backwards) is a theme with variations in six sections. The theme, conceived in the vein of a freely treated serialism, is characterised by a captivating melodic line spread between the three guitars. The various thematic units are later taken up and developed in different ways so as to create the five variations that, alternating opposing characters and sound settings between them, range from the South American sounding waltz, to the languid central recitative, to the wild counterpoint of the final variation. The careful reader will have understood at this point that Eud Eires, as suggested by the title, is in a certain sense, the continuation of the previous piece, therefore 'serie due' (second series). The complex formulations that are at the basis of this Fantasia for three guitars, can be found in the studies that the composer carried out on the theories expounded by Kandinsky in his book 'The spiritual in Art'. In Eud Eires, created at the same time as the pa
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    Forever Sunset
    FOREVER SUNSET - JADCD 1116 An anthology of works by Australian composers in a wide range of styles and musical groupings ranging from mandolin & strings, tenor recorder & piano, voice with flute & piano, through mandolin ensemble, solo piano works and works for brass ensemble and duos for trumpet & piano. ROBERT ALLWORTH (b.1943) Track 1. FOREVER SUNSET (2004) for Mandolin-Violin-Viola and 'Cello FOREVER SUNSET takes ideas from the poem of the Lotus Eaters by Lord Alfred Tennyson. The music is full of colouristic effects and is an evocative portrayal of a Sunset. IAN SHANAHAN (b.1962) Track 2 HARMONIA (in PP) (2001) for Tenor Recorder and Piano harmonia [Greek] = 'a fitting together' = compositio[nis] [Latin] = 'a musical composition' (i.e. a harmonious, well-structured assemblage of sounds/silences), and - of course - 'harmony' = a homophony = chorale, recitative, ..., pp [Italian abbreviation for 'very quiet'] = Peter Platt = the Perfect Professor. To 'Prof ... a Persistence of (Pneuma [Greek]) = 'wind' and 'spirit': "Funereal yet serene - a dignified mourning" (of surprising starkness and textural simplicity), for one who Plucks Psalteries in Pleromatic Paradise... Lest We Forget. Harmonia (in PP), written in memory of Professor Peter Platt, employs none of my typically abstract, complex paracompositional schemata: rather, I approached this concise piece much more humbly - in a way that I imagine 'Prof himself might have quietly begun to sketch out one of his own modest works. BETTY BEATH (b.1942) Tracks 3 and 4 MEETING IN THE ROAD and THE SHE WOLF Meeting in the Road and The She-wolf are the 3rd and 4th songs from the cycle for voice, flute and piano titled POINTS IN A JOURNEY. This cycle of five songs was commissioned by North Adams State College, Massachusetts. The First Performance took place during the period of my residency at the College on the 7th October, 1987. Meeting in the Road, the setting of a text by an anonymous Chinese poet of the 1st Century BC touches on a universal theme...the brief meeting which somehow touches us in a way we shall always recall. In writing from a distance of 2,000 years he describes the place where he lived as 'easy enough to find, easy to find and difficult to forget'. In a narrow road where there was not room to pass My carriage met the carriage of a young man. And while his axle was touching my axle in the narrow road, I asked him where he lived. The place where I live is easy enough to find, Easy to find and difficult to forget. The gates of my house are built of yellow gold, The hall of my house is paved with wihte jade, On the hall table flagons of wine are set, I have summoned to serve me dancers from Han-tan. In the midst of the courtyard grows a cassia tree, And candles on it's branches flaring away in the night. The She-wolf, with words by the Queensland poet, Jena Woodhouse, describes her passionate relationship with her mother. My mother gave me tempest strife and storm, Flickerings of wisdom lit from within by fires of ancient lore And left the imprint of her Celtic soul A sense of something dangerous and passionate It was she who snarled defiance at the poverty that menaced her And hurled her gypsy curses in the teeth of bitter need, And held her head still higher before strangers And damned the world for misery and greed, It was she who took in homeless dogs to feed and care for, And sad old men who drank too much and died And she who'd weep her grief at each bereavement, The nightmare visions crowding in her eyes, And chide her children for their trespasses, And toil until she dropped to give them bread, And then in feral rage devour them, And bundle them to bed with growls and muttered benedictions, And watch them grow with pride That flashed like lightning in her tawny gaze, And give them heart to sing And pit their strength against the storm. ERIC GROSS (b.1926) Tracks 5 and 6 KLAVIERSTÜCK 1V op.225 (1998) and PLAYFUL SALLY op.300 (2006) "KLAVIERSTÜCK IV", one of a series of five Klavierstücke, is subtitled "quasi un' improvvisazione" and is meant to convey, within a formal structure, liberal amounts of contrasting tempi, dynamics, phrasing and moods, such as would be found in an improvisation. It is also intended to give the performer the opportunity to contribute creatively to the realization of the music in a free and unrestricted manner. After the opening statements, which alternate emphatic and cantabile phrases, a gentle section gives way to semiquaver phrases which increase in volume and speed and lead to several climaxes. These semiquaver phrases appear in various inversions and guises, eventually leading back into a gentler melodic section, previously heard soon after the beginning. A cadenza builds up to a strong climax after which the work is brought to it's close with a succession of pianistic statements.'Klavierstück IV' was originally written for Katarina Kroslakova as a gesture of thanks for participating in an earlier recording of a composition of mine for mandolin and piano. "PLAYFUL SALLY" is dedicated to it's performer Sally Mays because of her strong and generous support of Australian composers. This composition is a lighthearted tribute to her outstanding musicianship and technical excellence. After commencing mischievously in the style of a two-part invention, the piece playfully employs cross-rhythms and unexpected harmonic aberrations to mislead performers and listeners alike. EG. ANN CARR-BOYD (b.1938) Track 7 FOXTROT (1993) FOXTROT was commissioned by Adrian Hooper, Director of the Sydney Mandolins, to be performed by his ensemble. The music is another dance form piece and is meant as a companion piece to Fandango, one of Ann Carr-Boyd's most popular compositions, which was also written for the Sydney Mandolins. ERIC GROSS Track 8 HABAÑERA-SERENADE op.31/4 (1960-2007) This composition, originally for Violin and Piano, was written as a study in an 'Habañera' style of composition and has also been transcribed for Piano alone. This version for Soprano Saxophone and Piano was arranged in 2007 especially for the two performers on this recording, Berndt Klinke (Soprano Saxophone) and Idil Ugur ( Piano) for a performance in Germany. The music relies on it's obvious melodic appeal based on it's ternary form and it's minor-to-major key- transformation. EG. DEREK STRAHAN (b.1935) Track 9 SEISMIC MURMURS for Solo Piano (1992) - Derek Strahan - piano This is the closing section from Pt. 1 of Atlantis Variations for Solo Piano, one of several works written to develop material for inclusion in a proposed cycle of 4 operas suggested by Plato's account of the rise and fall of Atlantis. A 3-note whole tone figure heard as a bass rumble at the outset and continuing, represents the trident of the Greek sea god Poseidon, by which he controlled the movement of wind and tides. The motif for Poseidon is immediately heard over it followed by a more elegiac theme for his consort as ruler of Atlantis, the native woman Cleito. A monumental theme for their son Atlas follows. Atlantis and the Atlantic Ocean are named after him. The responsibility of rule over his expanding empire is figuratively implied in the image of Atlas bearing the world on his shoulders. These and other motifs form the basis for passages signifying the seismic instability of the area in the Atlantic known as Dolphin's Ridge where Atlantis is placed by some writers. Heraldic fanfares depicting the Golden Age of Atlantis conclude this section. D.W.S. Recording, New Music Theatre, 8/7/2002. The complete work "Atlantis Variations" can be heard on the Revolve CD of that title RDS009. DANIEL WILLIAMS (b.1935) Tracks 10 and 11 DEO GRATIAS (2007) and FANFARE FOR HORROCKS (2007) Fanfare for Horrocks and Deo Gratias were written in 2007 by trumpeter and composer, Daniel Williams. Williams took on the position of Head of Bands at the The King's School in 2006, and it was there these compositions emerged. Deo Gratias was commissi
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