Les Contes d'Hoffmann, Barcarolle by Jacques Offenbach
- Classical music composed by Jacques Offenbach Ashley Hill, mezzo-soprano, Giulietta Amy Alvarado, mezzo-soprano, Nicklaus FIU Symphony Orchestra Carlos Riazuelo, conductor
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"Summertime" is a track from the album "Porgy and Bess" by jazz trumpet musician Miles Davis, released in 1958 on Columbia Records. The album features arrangements by Davis and collaborator Gil Evans from George Gershwin's opera Porgy and Bess. The album was recorded in four sessions on July 22, July 29, August 4 and August 18 in 1958 at Columbia's 30th Street Studio in New York City. It is the second collaboration between Davis and Evans and has garnered much critical acclaim since its release, being acknowledged by music critics as the best of their collaborations. For many jazz critics, Porgy and Bess is regarded as historic. In 1958, Davis was one of many jazz musicians growing dissatisfied with bebop, seeing its increasingly complex chord changes as hindering creativity. Five years earlier, in 1953, pianist George Russell published his Lydian Chromatic Concept of Tonal Organization, which offered an alternative to the practice of improvisation based on chords. Abandoning the traditional major and minor key relationships of Western music, Russell developed a new formulation using scales or a series of scales for improvisations. Russell's approach to improvisation came to be known as modal in jazz. Davis saw Russell's methods of composition as a means of getting away from the dense chord-laden compositions of his time, which Davis had labeled "thick". Modal composition, with its reliance on scales and modes, represented, as Davis put it,[3] "a return to melody". In a <b>...</b>
"Summertime" is a track from the album "Porgy and Bess" by jazz trumpet musician Miles Davis, released in 1958 on Columbia Records. The album features arrangements by Davis and collaborator Gil Evans from George Gershwin's opera Porgy and Bess. The album was recorded in four sessions on July 22, July 29, August 4 and August 18 in 1958 at Columbia's 30th Street Studio in New York City. It is the second collaboration between Davis and Evans and has garnered much critical acclaim since its release, being acknowledged by music critics as the best of their collaborations. For many jazz critics, Porgy and Bess is regarded as historic. In 1958, Davis was one of many jazz musicians growing dissatisfied with bebop, seeing its increasingly complex chord changes as hindering creativity. Five years earlier, in 1953, pianist George Russell published his Lydian Chromatic Concept of Tonal Organization, which offered an alternative to the practice of improvisation based on chords. Abandoning the traditional major and minor key relationships of Western music, Russell developed a new formulation using scales or a series of scales for improvisations. Russell's approach to improvisation came to be known as modal in jazz. Davis saw Russell's methods of composition as a means of getting away from the dense chord-laden compositions of his time, which Davis had labeled "thick". Modal composition, with its reliance on scales and modes, represented, as Davis put it,[3] "a return to melody". In a <b>...</b>
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Barcarolle (Offenbach, Contes d'Hoffmann) multitrack by Trudbol, da
► Facebook: www.facebook.com ► Twitter: twitter.com Jacques Offenbach's "Barcarolle" from his opera 'Les Contes d'Hoffmann' (The Tales of Hoffmann), performed by: - Andy Costello (piano): www.youtube.com - Danny Fong (tenor 1 / tenor 3): www.youtube.com - Julien Neel (tenor 2 / bass 1 / bass 2) A barcarole (from French, also barcarolle; originally, Italian barcarola, from barca 'boat') is a folk song sung by Venetian gondoliers, or a piece of music composed in that style. In classical music, two of the most famous barcaroles are those by Jacques Offenbach, from his opera The Tales of Hoffmann and Frederic Chopin's Barcarole in F sharp major for solo piano. A barcarole is characterized by a rhythm reminiscent of the gondolier's stroke, almost invariably a moderate tempo 6/8 meter. The Tales of Hoffmann (Les contes d'Hoffmann) is an opera by Jacques Offenbach. The French libretto was written by Jules Barbier, based on short stories by ETA Hoffmann, who is the main protagonist in the opera (as he is in the stories). The most famous number in the opera is the "Barcarolle" (Belle nuit, O nuit d'amour), which is performed in act 2. Curiously, the aria was not written by Offenbach with Les contes d'Hoffmann in mind. He wrote it as the 'Elves' Song' in the opera Die Rheinnixen (Les fées du Rhin), which premiered in Vienna on February 8, 1864. Offenbach died with Les contes d'Hoffmann unfinished. Ernest Guiraud completed the scoring and wrote the recitatives for the premiere. He <b>...</b>
► Facebook: www.facebook.com ► Twitter: twitter.com Jacques Offenbach's "Barcarolle" from his opera 'Les Contes d'Hoffmann' (The Tales of Hoffmann), performed by: - Andy Costello (piano): www.youtube.com - Danny Fong (tenor 1 / tenor 3): www.youtube.com - Julien Neel (tenor 2 / bass 1 / bass 2) A barcarole (from French, also barcarolle; originally, Italian barcarola, from barca 'boat') is a folk song sung by Venetian gondoliers, or a piece of music composed in that style. In classical music, two of the most famous barcaroles are those by Jacques Offenbach, from his opera The Tales of Hoffmann and Frederic Chopin's Barcarole in F sharp major for solo piano. A barcarole is characterized by a rhythm reminiscent of the gondolier's stroke, almost invariably a moderate tempo 6/8 meter. The Tales of Hoffmann (Les contes d'Hoffmann) is an opera by Jacques Offenbach. The French libretto was written by Jules Barbier, based on short stories by ETA Hoffmann, who is the main protagonist in the opera (as he is in the stories). The most famous number in the opera is the "Barcarolle" (Belle nuit, O nuit d'amour), which is performed in act 2. Curiously, the aria was not written by Offenbach with Les contes d'Hoffmann in mind. He wrote it as the 'Elves' Song' in the opera Die Rheinnixen (Les fées du Rhin), which premiered in Vienna on February 8, 1864. Offenbach died with Les contes d'Hoffmann unfinished. Ernest Guiraud completed the scoring and wrote the recitatives for the premiere. He <b>...</b>
Jaques Offenbach - Barcarole - Les Contes d'Hoffmann
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Title : Jacques Offenbach , Barcarolle , from 'The Tales of Hoffmann' From Wikipedia , Les contes d'Hoffmann (in English: The Tales of Hoffmann) is an opera by Jacques Offenbach. It was first performed in Paris, at the Opéra-Comique, on February 10, 1881. The libretto was written by Jules Barbier, based on three short stories by ETA Hoffmann. ETA Hoffmann himself is a character in the opera just as he often is in his stories. The stories upon which the opera is based are Der Sandmann,Rath Krespel, and Das verlorene Spiegelbild. The opera contains a prologue, three acts and an epilogue. Offenbach did not live to see his opera performed, since he died on October 5, 1880, just over four months before its premiere. Before his death, Offenbach had completed the piano score and orchestrated the prologue and the first act. Since he did not entirely finish the writing, many different versions of this opera emerged, some bearing little resemblance to the original work. The version performed at the opera's premiere was that by Ernest Guiraud, who completed Offenbach's scoring and wrote the recitatives. The Barcarolle The most famous aria from the opera is the "Barcarolle" (Belle nuit, ô nuit d'amour), which is performed in Act 2. Curiously, the aria was not written by Offenbach with Les Contes d'Hoffmann in mind. He wrote it as a ghost-song in the opera Les fées du Rhin (which premiered in Vienna on February 8, 1864 as Die Rheinnixen). Offenbach died with Les contes d'Hoffmann <b>...</b>
Title : Jacques Offenbach , Barcarolle , from 'The Tales of Hoffmann' From Wikipedia , Les contes d'Hoffmann (in English: The Tales of Hoffmann) is an opera by Jacques Offenbach. It was first performed in Paris, at the Opéra-Comique, on February 10, 1881. The libretto was written by Jules Barbier, based on three short stories by ETA Hoffmann. ETA Hoffmann himself is a character in the opera just as he often is in his stories. The stories upon which the opera is based are Der Sandmann,Rath Krespel, and Das verlorene Spiegelbild. The opera contains a prologue, three acts and an epilogue. Offenbach did not live to see his opera performed, since he died on October 5, 1880, just over four months before its premiere. Before his death, Offenbach had completed the piano score and orchestrated the prologue and the first act. Since he did not entirely finish the writing, many different versions of this opera emerged, some bearing little resemblance to the original work. The version performed at the opera's premiere was that by Ernest Guiraud, who completed Offenbach's scoring and wrote the recitatives. The Barcarolle The most famous aria from the opera is the "Barcarolle" (Belle nuit, ô nuit d'amour), which is performed in Act 2. Curiously, the aria was not written by Offenbach with Les Contes d'Hoffmann in mind. He wrote it as a ghost-song in the opera Les fées du Rhin (which premiered in Vienna on February 8, 1864 as Die Rheinnixen). Offenbach died with Les contes d'Hoffmann <b>...</b>
"Belle nuit - Barcarolle" The Tales of Hoffman - OperaBabes
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Joshua Bell Stop and Hear the Music by the Washington Post
From the Washington Post:
Pearls Before Breakfast
Can one of the nation's great musicians cut through the fog of a D.C. rush hour? Let's find out.
By Gene Weingarten
Washington Post Staff Writer
Sunday, April 8, 2007; Page W10
HE EMERGED FROM THE METRO AT THE L'ENFANT PLAZA STATION AND POSITIONED HIMSELF AGAINST A WALL BESIDE A TRASH BASKET. By most measures, he was nondescript: a youngish white man in jeans, a long-sleeved T-shirt and a Washington Nationals baseball cap. From a small case, he removed a violin. Placing the open case at his feet, he shrewdly threw in a few dollars and pocket change as seed money, swiveled it to face pedestrian traffic, and began to play.
It was 7:51 a.m. on Friday, January 12, the middle of the morning rush hour. In the next 43 minutes, as the violinist performed six classical pieces, 1,097 people passed by. Almost all of them were on the way to work, which meant, for almost all of them, a government job. L'Enfant Plaza is at the nucleus of federal Washington, and these were mostly mid-level bureaucrats with those indeterminate, oddly fungible titles: policy analyst, project manager, budget officer, specialist, facilitator, consultant.
...for the rest of the article go to:
http://www.washingtonpost.com/wp-dyn/content/article/2007/04/04/AR2007040401721.html
From the Washington Post:Pearls Before Breakfast
Can one of the nation's great musicians cut through the fog of a D.C. rush hour? Let's find out.
By Gene Weingarten
Washington Post Staff Writer
Sunday, April 8, 2007; Page W10
HE EMERGED FROM THE METRO AT THE L'ENFANT PLAZA STATION AND POSITIONED HIMSELF AGAINST A WALL BESIDE A TRASH BASKET. By most measures, he was nondescript: a youngish white man in jeans, a long-sleeved T-shirt and a Washington Nationals baseball cap. From a small case, he removed a violin. Placing the open case at his feet, he shrewdly threw in a few dollars and pocket change as seed money, swiveled it to face pedestrian traffic, and began to play.
It was 7:51 a.m. on Friday, January 12, the middle of the morning rush hour. In the next 43 minutes, as the violinist performed six classical pieces, 1,097 people passed by. Almost all of them were on the way to work, which meant, for almost all of them, a government job. L'Enfant Plaza is at the nucleus of federal Washington, and these were mostly mid-level bureaucrats with those indeterminate, oddly fungible titles: policy analyst, project manager, budget officer, specialist, facilitator, consultant.
...for the rest of the article go to:
http://www.washingtonpost.com/wp-dyn/content/article/2007/04/04/AR2007040401721.html
Classical Medley by Buddy Greene on the Harmonica
SINCE PEOPLE KEEP ASKING, HERE ARE THE SONGS THAT HE PLAYED ACCORDING TO COMMENTERS:
1ST: 'Jesu, Joy Of Man's Desiring' by Johann Sebastian Bach.
2ND: Mozart's Piano Sonata in C, K. 545 - Allegro
3RD: Rossini's William Tell overture (known to most as the theme from 'The Lone Ranger')
WOW. He's so good on the harmonica!Buddy has talent pouring out from his ears. He also can sing, play the guitar, and he writes music (he wrote the music for 'Mary Did You Know') but he's most known for his Harmonica. Not to mention he is a really funny, cool guy.
SINCE PEOPLE KEEP ASKING, HERE ARE THE SONGS THAT HE PLAYED ACCORDING TO COMMENTERS:1ST: 'Jesu, Joy Of Man's Desiring' by Johann Sebastian Bach.
2ND: Mozart's Piano Sonata in C, K. 545 - Allegro
3RD: Rossini's William Tell overture (known to most as the theme from 'The Lone Ranger')
WOW. He's so good on the harmonica!Buddy has talent pouring out from his ears. He also can sing, play the guitar, and he writes music (he wrote the music for 'Mary Did You Know') but he's most known for his Harmonica. Not to mention he is a really funny, cool guy.
Jascha Heifetz Plays Rondo by Mozart
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Jacques Offenbach - Orpheus in the Underworld Overture
Title : Jacques Offenbach - Orpheus in the Underworld Overture Date : 1858
Title : Jacques Offenbach - Orpheus in the Underworld Overture Date : 1858
Jacques Offenbach: "Orphée aux Enfers" GALOP INFERNAL (Can can)
GRUSSE AUS WIEN 12 ANTWERPEN-ELISABETZAAL 23 februari 1991 Koninklijk Filharmonisch Orkest van Vlaanderen olv C Solisten: Hillevi Martinpelto, Heather Lorimer, Catherine Vandevelde, Doreen O'Neill, Zachos Terzakis, Koen Crucke BRT-Koor: Vic Nees GALOP INFERNAL Ce bal est original d'un galop infernal donnons tous le signal! Vive le galop infernal! Donnons le signal d'un galop infernal! Amis, vive le bal! La la la la la!
GRUSSE AUS WIEN 12 ANTWERPEN-ELISABETZAAL 23 februari 1991 Koninklijk Filharmonisch Orkest van Vlaanderen olv C Solisten: Hillevi Martinpelto, Heather Lorimer, Catherine Vandevelde, Doreen O'Neill, Zachos Terzakis, Koen Crucke BRT-Koor: Vic Nees GALOP INFERNAL Ce bal est original d'un galop infernal donnons tous le signal! Vive le galop infernal! Donnons le signal d'un galop infernal! Amis, vive le bal! La la la la la!
Can Can - Piano - Jacques Offenbach - Orpheus of the Underworld
Le Can Can de Jacques Offenbach de l'opéra "Orpheus of the Underworld" joué au piano. Si vous voulez la partition , elle se trouve sur ce site : www.freesheetpianomusic.com Sheet music : www.freesheetpianomusic.com Merci de donnez votre avis ! :)
Le Can Can de Jacques Offenbach de l'opéra "Orpheus of the Underworld" joué au piano. Si vous voulez la partition , elle se trouve sur ce site : www.freesheetpianomusic.com Sheet music : www.freesheetpianomusic.com Merci de donnez votre avis ! :)
Orpheus in der Unterwelt von Jacques Offenbach
Medley Orpheus in der Unterwelt von Jacques Offenbach Uraufführung der Operette anno 1858 1. Theo Lingen - Als ich noch König der Spartaner (1963) Als ich noch König der Spartaner hatte Soldaten ich und Macht Ich war Stratege und Weltenplaner den man um's Leben hat gebracht Doch zugleich mit meinem Leben verlor ich auch mein Hab und Gut Wie gerne würd' ich dir sonst geben mein Königreich, mein Herz, mein Blut Wär' ich noch König der Spartaner wär' ich noch König der Sparta-aaaaa ... 2. Hamburger Fernsehballett - Höllen-Cancan (1973) (Galop infernal, Score And Parts)
Medley Orpheus in der Unterwelt von Jacques Offenbach Uraufführung der Operette anno 1858 1. Theo Lingen - Als ich noch König der Spartaner (1963) Als ich noch König der Spartaner hatte Soldaten ich und Macht Ich war Stratege und Weltenplaner den man um's Leben hat gebracht Doch zugleich mit meinem Leben verlor ich auch mein Hab und Gut Wie gerne würd' ich dir sonst geben mein Königreich, mein Herz, mein Blut Wär' ich noch König der Spartaner wär' ich noch König der Sparta-aaaaa ... 2. Hamburger Fernsehballett - Höllen-Cancan (1973) (Galop infernal, Score And Parts)
French Opera - The Classical Tradition 9: Offenbach - La belle Hél
Two voices like rays of sunlight, Janine Linda and André Dran, sing a beautiful duetto from Jacques Offenbach's La belle Hélène. Paris has entered the private rooms of Helen of Troy. She awakens but is led to believe it is all a dream: the young Trojan prince is wooing the most beautiful woman in the world, whom he has been promised by the goddess Venus. René Leibowitz conducts this 1952 recording, which has become a classic and should be heard in it's entirety by anyone who loves Offenbach.
Two voices like rays of sunlight, Janine Linda and André Dran, sing a beautiful duetto from Jacques Offenbach's La belle Hélène. Paris has entered the private rooms of Helen of Troy. She awakens but is led to believe it is all a dream: the young Trojan prince is wooing the most beautiful woman in the world, whom he has been promised by the goddess Venus. René Leibowitz conducts this 1952 recording, which has become a classic and should be heard in it's entirety by anyone who loves Offenbach.
