Tori Amos Draws from Alkan
- Classical music Amos incorporates classical music themes on her new album "Night of Hunters". In this case, French composer Charles-Valentin Alkan's Prelude Op.31, No.8 Technically, Alkan is a composer from the romantic era, not the classical... Other pieces included are: 1) Enrique Granados's "Anoranza" : Snowblind 2) Erik Satie's "Gnossienne No.1" : Battle of Trees 3) Enrique Granados's "Spanish Dance No.2" : Fearlessness 4) Chopin's "Nocturne No.1" : Cactus Practice 5) Schubert's "Sonata No.20" : Star Whisperer 6) Mendelssohn's "Venetian Gondola" : Nautical Twilight 7) Schumann's "Theme & Variations in E-flat major" : Your Ghost 8) Bach's "Siciliano Sonata No.2" : Edge of the Moon 9) Mussorgsky's "Pictures at an Exhibition (The Old Castle)" : The Chase 10) Scarlatti's "Sonata k.466, L.118" : Night of Hunters + "Salve Regina" A Gregorian Chant 11) Bach's "Prelude in C minor" : Seven Sisters 12) Debussy's "La Fille aux Cheveux de Lin" : Carry
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Aloysio Rachid, brazilian pianist, arranger and composer, plays (performs) (spielt) (touches) (executa) (toca) the first (erste) (prèmière) (primera) (primeira) Arabesque by Claude Debussy (1862-1918), a French Impressionist music composer (französische musik lieder kompozer). Arabesque 1ª. Arabesc I. Number one. 1st. 1ère. 1ra. Andantino con moto. Piano solo performance instrumental french music. Französische klaviermusik. Klavier. Romantique sentimental interpretacion (romantic interpretation) (romantica). Deux (two) (zwei) (dune) (duas) Arabesques (arabescs). Musique française famose et belle. Debussy é o autor de "L'apres midi d'un faune" (prelude famose) (Prelude to the afternoon of a Faun). Pianoforte famoza (famous) (berühmtes) cancion. Beautiful divine song music. Música divina. Divinal. Músicas e som ambiente. Fundo musical para escritórios, shoppings, lojas, consultórios médicos e dentários, estações de barca, metro, trens, rodoviárias e aeroportos. Arabesk klavier musik für ballet. Classical music performance. Brazilian musician. Muzico clasico braziliano. Musici classici romantici francesi per pianoforte. Musique et chanson francesca erudite classique. Arabesc in E major (mi maior majeur).
Aloysio Rachid, brazilian pianist, arranger and composer, plays (performs) (spielt) (touches) (executa) (toca) the first (erste) (prèmière) (primera) (primeira) Arabesque by Claude Debussy (1862-1918), a French Impressionist music composer (französische musik lieder kompozer). Arabesque 1ª. Arabesc I. Number one. 1st. 1ère. 1ra. Andantino con moto. Piano solo performance instrumental french music. Französische klaviermusik. Klavier. Romantique sentimental interpretacion (romantic interpretation) (romantica). Deux (two) (zwei) (dune) (duas) Arabesques (arabescs). Musique française famose et belle. Debussy é o autor de "L'apres midi d'un faune" (prelude famose) (Prelude to the afternoon of a Faun). Pianoforte famoza (famous) (berühmtes) cancion. Beautiful divine song music. Música divina. Divinal. Músicas e som ambiente. Fundo musical para escritórios, shoppings, lojas, consultórios médicos e dentários, estações de barca, metro, trens, rodoviárias e aeroportos. Arabesk klavier musik für ballet. Classical music performance. Brazilian musician. Muzico clasico braziliano. Musici classici romantici francesi per pianoforte. Musique et chanson francesca erudite classique. Arabesc in E major (mi maior majeur).
Wedding March from A Midsummer Nights Dream Mendelssohn
WSU Brass and Organ Recital
Organized by
Andrew Bishop, Trumpet
Ian Schwindt, Trombone
Wiedemann Recital Hall
Wichita State University
April 8, 1996
Well, nobody could ever accuse either myself, or my good friend Ian Schwindt of not being pure, unadulterated "brassholes." We were very fortunate to have not only great friends at WSU who were like-minded in our pursuits of great brass music, but also having at our disposal an amazingly talented church organist, my mother Genevieve Bishop!
It should go without saying that this concert was extremely enjoyable to perform. I'm terribly sorry that the video quality of this concert is very poor. I did, however, lay the digital sound over the video, so at least the audio is acceptable. Believe it nor not, this entire recital was given after having only one hour-long rehearsal....a full week before the recital! I believe that is a testament to the outstanding musicians and friends we had at WSU.
Not only that, but how lucky were we to have a venue like Wiedemann Recital Hall -- a building solely constructed to house the Great Marcussen Organ? Built in 1986-87, it was the first Marcussen organ built in North America by the Danish firm. For more information, please see:
http://www.marcussen-son.dk
All the pieces of the "Wedding Suite" were arranged by Ian Schwindt for his own Wedding Ceremony of July 1, 1995. Yes, in fact the wedding had three antiphonal brass choirs and organ. It was the greatest wedding music I'd ever heard until this last May, when I put together the greatest wedding music of ALL-TIMES for my baby sister Katie for her wedding day.
Program:
Introduction ("Sunrise") -- Richard Strauss
From Also Sprach Zarathustra, Op. 30
WEDDING SUITE
- Seating of the Parents: Jesu, Joy of Man's Desiring (J.S. Bach)
- Processional: Hornpipe from Water Music Suite in D (G.F. Handel)
- Entrance of the Bride:
Fanfare "Abblasen" (G. Reiche)
Prelude from Te Deum (M.A. Charpentier)
- Recessional: Wedding March from A Midsummer Night's Dream (F. Mendelssohn)
Toccata (Charles-Marie Widor)
From Organ Symphony No. 5
Feierlicher Einzug (Richard Strauss)
Musicians:
Genevieve Bishop, Organ
Trumpets: Andrew Bishop, Gerald Brandt, Bret Goter, Mark Boren, Paul Hudson, Laura Bornholdt
Horns: Susan Snipes, Schuyler Laverentz, Brady Finch, Jeb Wallace, Miah Schneider, Guy Vollen
Trombones: Ian Schwindt, Matt Blauer, Jeff Luttrell, Sean Ormerod
Tuba: Raymond Linkous
Timpani: Phil Merz
Conductor: Jeffrey Bishop
Please visit me at:
www.myspace.com/andrewbishoptrumpet
WSU Brass and Organ RecitalOrganized by
Andrew Bishop, Trumpet
Ian Schwindt, Trombone
Wiedemann Recital Hall
Wichita State University
April 8, 1996
Well, nobody could ever accuse either myself, or my good friend Ian Schwindt of not being pure, unadulterated "brassholes." We were very fortunate to have not only great friends at WSU who were like-minded in our pursuits of great brass music, but also having at our disposal an amazingly talented church organist, my mother Genevieve Bishop!
It should go without saying that this concert was extremely enjoyable to perform. I'm terribly sorry that the video quality of this concert is very poor. I did, however, lay the digital sound over the video, so at least the audio is acceptable. Believe it nor not, this entire recital was given after having only one hour-long rehearsal....a full week before the recital! I believe that is a testament to the outstanding musicians and friends we had at WSU.
Not only that, but how lucky were we to have a venue like Wiedemann Recital Hall -- a building solely constructed to house the Great Marcussen Organ? Built in 1986-87, it was the first Marcussen organ built in North America by the Danish firm. For more information, please see:
http://www.marcussen-son.dk
All the pieces of the "Wedding Suite" were arranged by Ian Schwindt for his own Wedding Ceremony of July 1, 1995. Yes, in fact the wedding had three antiphonal brass choirs and organ. It was the greatest wedding music I'd ever heard until this last May, when I put together the greatest wedding music of ALL-TIMES for my baby sister Katie for her wedding day.
Program:
Introduction ("Sunrise") -- Richard Strauss
From Also Sprach Zarathustra, Op. 30
WEDDING SUITE
- Seating of the Parents: Jesu, Joy of Man's Desiring (J.S. Bach)
- Processional: Hornpipe from Water Music Suite in D (G.F. Handel)
- Entrance of the Bride:
Fanfare "Abblasen" (G. Reiche)
Prelude from Te Deum (M.A. Charpentier)
- Recessional: Wedding March from A Midsummer Night's Dream (F. Mendelssohn)
Toccata (Charles-Marie Widor)
From Organ Symphony No. 5
Feierlicher Einzug (Richard Strauss)
Musicians:
Genevieve Bishop, Organ
Trumpets: Andrew Bishop, Gerald Brandt, Bret Goter, Mark Boren, Paul Hudson, Laura Bornholdt
Horns: Susan Snipes, Schuyler Laverentz, Brady Finch, Jeb Wallace, Miah Schneider, Guy Vollen
Trombones: Ian Schwindt, Matt Blauer, Jeff Luttrell, Sean Ormerod
Tuba: Raymond Linkous
Timpani: Phil Merz
Conductor: Jeffrey Bishop
Please visit me at:
www.myspace.com/andrewbishoptrumpet
Yo-Yo Ma plays Prelude from Bach's Cello Suite No. 1
Prelude from Bach's Cello Suite No. 1 by Yo-Yo Ma.
Prelude from Bach's Cello Suite No. 1 by Yo-Yo Ma.
Janine Jansen - Meditation From Thais Massenet
Berlin - June 18, 2006
Watch also: http://www.youtube.com/watch?v=lcASw1b3ZNI
Berlin - June 18, 2006Watch also: http://www.youtube.com/watch?v=lcASw1b3ZNI
Meditation from Thais Valerie Kim with Dominique Kim
Meditation from Thais by Jules Massenet. Arranged for violin and piano. Valerie (10) - violin Dominique (12) - piano 2008 02 10
Meditation from Thais by Jules Massenet. Arranged for violin and piano. Valerie (10) - violin Dominique (12) - piano 2008 02 10
Jack Gibbons plays Alkan Concerto for solo piano (1st mvt)
Jack Gibbons plays the first movement (complete) of Alkan's Concerto for solo piano. <br /><br />The monumental Concerto for Solo Piano makes up Etudes 8-10 of Charles-Valentin Alkan's 'Douze Etudes dans les Tons Mineurs' (Twelve Studies in the Minor Keys), Alkan's magnum opus, published in 1857. The Concerto for solo piano has been described as a musical epic and as one of the most original works of its century, and contains some of Alkans finest and most haunting music. As the title of the work suggests, Alkan recreates the massive and contrasting sounds of both piano and orchestra through just one pair of hands (the entry of the solo pianist, following the 'orchestral' exposition, is obvious from the rising sweep of a pianistic scale). The gigantic proportions of the first movement are superbly controlled in Alkans masterly construction, the contrasting mixture of excitement and tenderness, ferocity and lyricism being held together in a model of coherence and logical progression. <br /><br />Jack Gibbons made his London debut in 1979, at the age of 17, performing the Alkan Concerto for solo piano. A year earlier, at the age of 16, he had given only the second ever performance in history of the complete Concerto (Ronald Smith gave the first ever complete performance of the work the previous year, 1977). In 1995 Jack Gibbons became the first pianist to perform the entire three and a half hour 'Douze Etudes dans les Tons Mineurs' of Alkan in a single concert. <br /><br />For more information on Jack Gibbons visit his official website at http://www.jackgibbons.com
Jack Gibbons plays the first movement (complete) of Alkan's Concerto for solo piano. <br /><br />The monumental Concerto for Solo Piano makes up Etudes 8-10 of Charles-Valentin Alkan's 'Douze Etudes dans les Tons Mineurs' (Twelve Studies in the Minor Keys), Alkan's magnum opus, published in 1857. The Concerto for solo piano has been described as a musical epic and as one of the most original works of its century, and contains some of Alkans finest and most haunting music. As the title of the work suggests, Alkan recreates the massive and contrasting sounds of both piano and orchestra through just one pair of hands (the entry of the solo pianist, following the 'orchestral' exposition, is obvious from the rising sweep of a pianistic scale). The gigantic proportions of the first movement are superbly controlled in Alkans masterly construction, the contrasting mixture of excitement and tenderness, ferocity and lyricism being held together in a model of coherence and logical progression. <br /><br />Jack Gibbons made his London debut in 1979, at the age of 17, performing the Alkan Concerto for solo piano. A year earlier, at the age of 16, he had given only the second ever performance in history of the complete Concerto (Ronald Smith gave the first ever complete performance of the work the previous year, 1977). In 1995 Jack Gibbons became the first pianist to perform the entire three and a half hour 'Douze Etudes dans les Tons Mineurs' of Alkan in a single concert. <br /><br />For more information on Jack Gibbons visit his official website at http://www.jackgibbons.com
Jack Gibbons plays Alkan Concerto for solo piano (3rd mvt)
Jack Gibbons plays the third movement of Alkan's Concerto for solo piano. <br /><br />The monumental Concerto for Solo Piano makes up Etudes 8-10 of Charles-Valentin Alkan's 'Douze Etudes dans les Tons Mineurs' (Twelve Studies in the Minor Keys), Alkan's magnum opus, published in 1857. The Concerto for solo piano has been described as a musical epic and as one of the most original works of its century, and contains some of Alkans finest and most haunting music. As the title of the work suggests, Alkan recreates the massive and contrasting sounds of both piano and orchestra through just one pair of hands. The exuberant finale, with its kaleidoscope of moods, Eastern flavour, and exhilarating peroration, rounds off this massive work to perfection. <br /><br />Jack Gibbons made his London debut in 1979, at the age of 17, performing the Alkan Concerto for solo piano. A year earlier, at the age of 16, he had given only the second ever performance in history of the complete Concerto (Ronald Smith gave the first ever complete performance of the work the previous year, 1977). In 1995 Jack Gibbons became the first pianist to perform the entire three and a half hour 'Douze Etudes dans les Tons Mineurs' of Alkan in a single concert. <br /><br />For more information on Jack Gibbons visit his official website at http://www.jackgibbons.com
Jack Gibbons plays the third movement of Alkan's Concerto for solo piano. <br /><br />The monumental Concerto for Solo Piano makes up Etudes 8-10 of Charles-Valentin Alkan's 'Douze Etudes dans les Tons Mineurs' (Twelve Studies in the Minor Keys), Alkan's magnum opus, published in 1857. The Concerto for solo piano has been described as a musical epic and as one of the most original works of its century, and contains some of Alkans finest and most haunting music. As the title of the work suggests, Alkan recreates the massive and contrasting sounds of both piano and orchestra through just one pair of hands. The exuberant finale, with its kaleidoscope of moods, Eastern flavour, and exhilarating peroration, rounds off this massive work to perfection. <br /><br />Jack Gibbons made his London debut in 1979, at the age of 17, performing the Alkan Concerto for solo piano. A year earlier, at the age of 16, he had given only the second ever performance in history of the complete Concerto (Ronald Smith gave the first ever complete performance of the work the previous year, 1977). In 1995 Jack Gibbons became the first pianist to perform the entire three and a half hour 'Douze Etudes dans les Tons Mineurs' of Alkan in a single concert. <br /><br />For more information on Jack Gibbons visit his official website at http://www.jackgibbons.com
Alkan - Scherzo Diabolico
"Scherzo Diabolico, anticipates Liszt's 'Mephisto' style but is more classical in shape and sterner in character. Although in G minor its leading subject opens with a bold splash of Ab colouring and throughout the main section this constant contradiction of G minor by the Neapolitan sixth, Ab, adds tension to its obsessional drive. The tempo slackens for a trio in huge fat chords. Then comes the surprise. The scherzo returns but in a breathless whisper and it vanishes, wraithlike, into a sulphurous haze of pedal. Alkan's instruction to hold both pedals throughout this final section is highly imaginative but cruelly exacting, especially on most modern instruments. It should certainly be risked, its success depending on the pianist's ability to tame such wide-spanned velocity into a controlled 'ppp'." *All quotes taken from Ronald Smith's book entitled Alkan - The man, The Music.*
"Scherzo Diabolico, anticipates Liszt's 'Mephisto' style but is more classical in shape and sterner in character. Although in G minor its leading subject opens with a bold splash of Ab colouring and throughout the main section this constant contradiction of G minor by the Neapolitan sixth, Ab, adds tension to its obsessional drive. The tempo slackens for a trio in huge fat chords. Then comes the surprise. The scherzo returns but in a breathless whisper and it vanishes, wraithlike, into a sulphurous haze of pedal. Alkan's instruction to hold both pedals throughout this final section is highly imaginative but cruelly exacting, especially on most modern instruments. It should certainly be risked, its success depending on the pianist's ability to tame such wide-spanned velocity into a controlled 'ppp'." *All quotes taken from Ronald Smith's book entitled Alkan - The man, The Music.*
Scott Tennant : M. Tadic 3 Balkan Pieces
XVII INTERNATIONAL GUITAR FESTIVAL & COURSES BRNO ´08 3--9 AUGUST 2008 guitarcz.com SCOTT TENNANT is a founding member of the Grammywinning ensemble Los Angeles Guitar Quartet, and is himself considered to be one of the world's top classical guitarists. He authored books on guitar technique, including Pumping Nylon, which has attained a "cult" classic status
XVII INTERNATIONAL GUITAR FESTIVAL & COURSES BRNO ´08 3--9 AUGUST 2008 guitarcz.com SCOTT TENNANT is a founding member of the Grammywinning ensemble Los Angeles Guitar Quartet, and is himself considered to be one of the world's top classical guitarists. He authored books on guitar technique, including Pumping Nylon, which has attained a "cult" classic status
