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Acis and Galatea- Polyphemus: 'O ruddier than the cherry' by GF Ha
Acis and Galatea- Polyphemus: 'O ruddier than the cherry' by GF Ha In 1717, in addition to writing operas for the London theaters, Handel went to work for the Duke of Chandos at Cannons, his splendid country house in Middlesex, north of London. Here he wrote a magnificent set of anthems for his employer, now known as the Chandos Galatea, to a libretto by John Gay. This was produced at Cannons in 1718. It tells the usual shepherd-meets-shepherdess story, with the difference that the shepherd Acis is killed by a rock, thrown by the jealous one-eyed, Cyclops Polyphemus, and transformed, in the manner of Classical mythology, into a limpid stream. Polyphemus' lustful song 'O ruddier than the cherry' quickly became drawing-room standard and is still a favourite with basses today, a magically conceived aria in this pastoral mini-tragedy. Polyphemus sings: "O ruddier than the cherry, O sweeter than the berry, O nymph more bright Than moonshine night, Like kidlings blithe and merry. Ripe as the melting cluster, No lily has such lustre; Yet hard to tame As raging flame, And fierce as storms that bluster! O ruddier. . . da capo" David van Asch, bass The Scholars Baroque Ensemble
John Doan plays Fernando Sor Harpolyre 1830
John Doan plays Fernando Sor Harpolyre 1830 www.johndoan.com No. 3 from Six Petite Pieces written by Fernando Sor for the Harpolyre. This guitar was built in Paris in 1830's and the music was written just for this 3 neck guitar. It is a historic instrument. Fernando Sor was the father of the Classical Guitar movement. www.johndoan.com
John Doan playing Harpolyre music by Fernando Sor
John Doan playing Harpolyre music by Fernando Sor www.johndoan.com John Doan playing music on an original Harpolyre by Fernando Sor. This music has not been played since the 1830's.
ClassiCal Poly- Prokofiev's Peter and the Wolf
ClassiCal Poly- Prokofiev's Peter and the Wolf Ducklings and selections from Sergei Prokofiev's classic, Peter and the Wolf
O Magnum mysterium - Giovanni Gabrieli (1557 - 1612) Latin text with
O Magnum mysterium - Giovanni Gabrieli (1557 - 1612) Latin text with Gabrieli's O magnum mysterium consistently and classically counterpoises two contrasting vocal choirs while maintaining its elegant proportions. Gabrieli divides his text, which celebrates the lowliness of Christ's birth on Christmas, into three unequal parts; each receives a musical section of roughly equal length. The opening phrase, "O great mystery," is sung three times: once by the first choir, once by the slightly lower second choir, and a third time in climactic full polyphony. The second phrase of text, which explains that the great mystery and "wondrous sacrament" allowed mere animals to see the birth of the Saviour, takes the same tripartite structure, with a temporal broadening into triple rhythmic groups. The composer packs the most text into the third section, which extols the manger and the blessed Virgin; twice Gabrieli cycles the contrasted vocal choirs, once aspirantly starting with the lower ensemble and rising to the heights. The choral antiphony becomes thus not only a vehicle for grand effect, but also serves to articulate the very structure of the text and to embody its sense. The radiant conclusion of his motet comes in a fourth section, an extended jubilant "alleluia." A series of syncopated, triple-meter antiphonal statements gradually gives way to a broad, eight-voiced tutti. Whether the two choirs braved the logistical challenges of physical separation or merely sang in proximate alternation, the effect added great luster to the Venetian liturgy.
History of Music: The Classical Period: The Middle Ages
History of Music: The Classical Period: The Middle Ages http://www.zaneeducation.com - This K12 online History of Music video will assist classical music students to study the introduction of secular music during the Middle Ages and the Renaissance and identify the instruments used by the medieval musicians. Discover the cultural impact of plainchant and the music of the troubadours, Renaissance choral works and madrigals. Trace the development of music from plainchant through to complex polyphony. From the Zane Education K12 curriculum online video eLearning library for teachers, parents, students, tutors and homeschool.
Gabrieli: Canzon Primi Toni à 10 for 10 recorders
Gabrieli: Canzon Primi Toni à 10 for 10 recorders Catalogue title: Canzon Primi Toni à 10, Ch.176. This work doesn't include the normal polychoral texture of many of Giovanni Gabrieli's other instrumental Canzoni from his Sacrae symphoniae of 1597. It has 6 equal solo parts and a small ripieno group of 4 that are juxtaposed throughout the work. Instrumentation is as follows: Solo 1 - 4: tenor recorder Solo 5 - 6: bass recorder Ripieno 1: bass recorder Ripieno 2: C-bass recorder Ripieno 3,4: subbass recorder in F The video shows Solo parts 1 through 5 and Ripieno parts 1 through 4. Higher quality mp3: jnote.org More classical multitracks: www.youtube.com
Andor Földes plays Brahms Intermezzo op.117 no.1
Andor Földes plays Brahms Intermezzo op.117 no.1 Intermezzo no.1 in E-flat major is among "Three Intermezzi, op.117" composed in 1892. Recorded in 1950. ~ Biography / Obituary from NY Times on February 19, 1992: Andor Foldes, a Hungarian-born American pianist who was closely associated with the music of Bela Bartok and who was also a respected interpreter of the Viennese Classical composers, died at his home in Herrliberg, Switzerland, on Feb. 9. He was 78 years old. He died after falling down a flight of stairs, said his wife, Lili Rendy Foldes. Mrs. Foldes said her husband had been preparing for a performance and an eight-day master class at the Beethoven house in Bonn. Mr. Foldes was born in Budapest on Dec. 21, 1913, and began his studies privately with his mother, Valerie Ipolye, and with Tibor Szatmari. He made his public debut performing a Mozart concerto with the Budapest Philharmonic when he was 8 years old. The next year he entered the Budapest Academy of Music to study the piano, composition and conducting, but he continued to perform publicly. During his student years, Mr. Foldes worked with several important Hungarian composers, among them Ernst von Dohnanyi, with whom he studied until 1932, and Bartok, whom he met in 1929. Bartok's music became a central part of his repertory. He gave the New York premiere of Bartok's Second Piano Concerto at Carnegie Hall in 1947. His 1948 recording of the work, prized by collectors, was recently reissued on compact disk, as was a set of Bartok works he recorded for ...
Stravinsky - The Rite of Spring - Sacrificial Dance
Stravinsky - The Rite of Spring - Sacrificial Dance Title :Igor Stravinsky ,The Rite of Spring - Sacrificial Dance From Wikipedia,The Rite of Spring, commonly referred to by its original French title, Le Sacre du Printemps (Russian: Весна священная, Vesna svjaščennaja) is a ballet with music by the Russian composer Igor Stravinsky, original choreography by Vaslav Nijinsky, and original set design and costumes by archaeologist and painter Nicholas Roerich, all under impressario Serge Diaghilev. The music is widely acknowledged as one of the greatest, most influential, and reproduced compositions in history. It is iconic for 20th century classical or avant garde European music, with innovative complex rhythmic structures, timbres, and use of dissonance. The scandal of a riot at its 1913 premier, caused by its innovative technique and content, made it one of the most internationally well known and controversial works in performance historyThe music for Le Sacre du Printemps is regarded as one of the pinnacles of human intellectual achievement. Composer and conductor Leonard Bernstein, in his Six Talks at Harvard, said of one passage, That page is sixty years old, but its never been topped for sophisticated handling of primitive rhythms, and of the work as a whole, its also got the best dissonances anyone ever thought up, and the best asymmetries and polytonalities and polyrhythms and whatever else you care to name.The Rite of Spring is a series of episodes depicting a wild pagan spring ritual: "... the wise elders are seated ...
History of Music: The Classical Period: Middle Ages
History of Music: The Classical Period: Middle Ages http://www.zaneeducation.com - This K12 online History of Music video will assist classical music students to study the introduction of secular music during the Middle Ages and the Renaissance and identify the instruments used by the medieval musicians. Discover the cultural impact of plainchant and the music of the troubadours, Renaissance choral works and madrigals. Trace the development of music from plainchant through to complex polyphony. From the Zane Education K12 curriculum online video eLearning library for teachers, parents, students, tutors and homeschool.
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