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NotaPublicado: 27 Ago 2008 8:36 
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Maestro de coro
Maestro de coro

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Ubicación: En la Discovery, como "el éxito de todos los fracasos"
Ese Flammen sí que es bueno... Increible.
Gracias, Zelenka, por acordarte de él. :aplauso:


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NotaPublicado: 28 Ago 2008 17:57 
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faroliclass

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Zelenka, ya has hablado de Marcel Mihalovici?.
Hace algún tiempo en el foro, abri un hilo sobre él, bueno mas bien, sobre una obra que me interesa de él, es de una obra de Samuel Beckett "La última cinta", el nombre de la ópera es Krapp por el personaje principal. ¿Tienes alguna grabación de la obra? o de la obra en general de Mihalovici.


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Lo lamento, pero no tengo nada de él :?


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faroliclass

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:( vaya tengo una suerte, nadie tiene nada de él :cry:
horrmiiiga tu sabes algo??


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helena gabriela escribió:
horrmiiiga tu sabes algo??


Nada. Pero tomo nota y prometo avisarte si encuentro algo. Además
ya me puede la curiosidad ... Por de pronto, en youtube está esto:

[youtube]http://youtube.com/watch?v=t0BuvK3JMvo[/youtube]


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Ernesto Lecuona y Casado (1895-1963) Nació en La Habana, Cuba. Hijo de un periodista español que se radicó en Cuba, comenzó a estudiar piano bajo la tutela de su hermana Ernestina. Fue un niño prodigio. Dio su primer recital a los cinco años, y a los trece realizó su primera composición, la marcha titulada Cuba y América para banda de concierto. Estudió en el Peyrellade Conservatoire con Antonio Saavedra y el famoso Joaquín Nin. Lecuona se graduó en el Conservatorio Nacional de la Habana con una medalla de oro en interpretación cuando tenía 16 años. Fuera de Cuba comenzó su carrera en el Aeolian Hall (Nueva York) y continuó sus estudios en Francia con Maurice Ravel. Él introdujo la primera orquesta latina en los Estados Unidos.

Junto a Gonzalo Roig y Rodrigo Prats, forma la trilogía más importante de compositores del teatro lírico cubano y en especial de la zarzuela. El aporte más importante de Lecuona al género teatral es la fórmula definitiva de la romanza cubana. Entre sus obras destacan las zarzuelas Canto Siboney, Damisela Encantadora, Diablos y Fantasías, El Amor del Guarachero, El Batey (1929), El Cafetal, El Calesero, El Maizal, La Flor del Sitio, Tierra de Venus (1927), María la O (1930) y Rosa la China (1932); las canciones Canto Carabalí, La Comparsa y Malagueña (1933), perteneciente a su suite Andalucía; sus obras para danza, Danza de los Ñáñígos y Danza Lucumí; la ópera El Sombrero de Yarey (cuyo paradero se desconoce), la Rapsodia Negra para piano y orquesta, así como su Suite Española.

Con sus zarzuelas más importantes, Ernesto Lecuona dio forma clásicamente definida a la zarzuela cubana en cuanto a género y estilo se refiere. Algunas de las zarzuelas aquí mencionadas son las únicas producciones latinoamericanas que se han integrado en los repertorios en España. En 1942 su composición Siempre en mi Corazón fue nominada para el Oscar como la mejor canción; perdiendo sólo contra White Christmas. En 1960, profundamente descontento con el gobierno de Fidel Castro, Lecuona se traslada a Tampa. En las décadas que siguieron, la historiografía musical cubana, bajo presión del partido oficialista, no tuvo en cuenta la significación social y cultural de este músico, es preciso reconocer que al acopio y difusión de su obra dedicaron importantes esfuerzos su amigo y colaborador artístico Orlando Martínez, así como el también pianista y musicólogo cubano Odilio Urfé. Lo cierto es que la prensa y la crítica le fueron siempre favorables. Tres años más tarde muere en Santa Cruz de Tenerife, Islas Canarias, durante unas vacaciones para conocer la tierra natal de sus padres.

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Rosa la China, zarzuela cubana (1932) Final.

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Última edición por Zelenka el 24 May 2014 14:22, editado 1 vez en total

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No conocía esta obra. ¡Cómo suena a Turandot!.


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Qué fuerte era Dolores Perez... :nw:


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Lecuona :love:


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faroliclass

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Lecuona muy bueno, sí señores y si quieren escuchar algo de él, en el youtobe hay muchas audiciones de sus obras con cantantes cubanos, muy buenos ellos.

http://es.youtube.com/watch?v=llIjaBFAa0Q
Muy lindo, muy bella soprano (cubana).

http://es.youtube.com/watch?v=9uaPHHLiC ... re=related
Bellísimo, hermosa voz.

:wink:


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Heinrich August Marschner (1795-1861) He was born in Zittau, Germany. His father was a Horndrechsler, a craftsman who made items of horn or ivory, but was a man who also had an abiding interest in music, and allowed his son the liberty to develop his considerable talent. A meeting with a Hungarian nobleman, Count Thaddaeus Amadée de Varkony led to an attempt to induce Beethoven to accept Marschner as a pupil, in 1815. The following year Marschner became music teacher in the household of Count Johann Nepomuk Zichy, whose principal residence was in Pressburg (the modern Bratislava). There he undertook further study with Heinrich Klein, a leading figure in the music of the place. It was in Pressburg that he turned his more serious attention to the theatre with an opera, Der Kiffhäuser Berg, based on a Thuringian legend, a magic opera in the then currently popular style, but following Weber's example in using folk narrative material. In 1817, marschner married, and became a widower within months, his wife dying of gangrene. Throughout his life, he was married three more times. Another opera, Heinrich IV und Aubigné, had some success in Dresden, where Marschner settled in 1821, without immediate employment.

The first theatre commission Marschner undertook in Dresden was the composition of incidental music for Kleist's play, Prinz Friedrich von Homburg, and this was followed by music for an unsuccessful Volks-Trauerspiel, Schön Ella, a work that relied heavily on the archetypal German romantic ballad, Lenore. In Dresden, he met Weber, and in 1823 was appointed his assistant, although Weber had hoped to offer the position to his friend Johann Gänsbacher, to whom he was under some obligation. Relations between Weber and Marschner were never smooth, and the latter seemed to resent the obvious musical and dramatic influence that Weber perceptibly had on his own work. In 1824 Marschner became director of the German and the Italian opera in Dresden, undertaking, as he complained, most of the duties of Weber and of Morlacchi, the superintendent of the Italian opera. Marschner's second wife died in 1825; Weber died in June, 1826, and Marschner, unsuccessful in his petition to the court for Weber's position, resigned, travelling first to Berlin, then to Danzig, where he had a six-month contract at the opera, writing the two-act Lukretia, the title rôle being performed by his new wife, Marianne.

In 1827 Marschner returned to Leipzig, where his opera Der Vampyr, a subject of topical interest, won success. This was the first collaboration with his brother-in-law, Wilhelm August Wohlbrück, which was to continue through many of Marschner's most successful theatre works. Der Vampyr was followed by an opera derived from Sir Walter Scott's Ivanhoe, Der Templer und die Jüdin. Four years later he was successful in his application for the position of Kapellmeister in Hanover, a position he retained, in spite of difficulties, for the rest of his career. In 1833 He achieved his greatest success with the opera Hans Heiling, a work that established him as the leading proponent of German romantic opera. Subsequent dramatic works met varied reception, although his achievement was widely recognized. His most successful opera, Hans Heiling, follows the example of Weber's Der Freischütz, but in form exercised a strong influence on Wagner. In harmonic language Marschner was adventurous, and in Hans Heiling he provided a new rôle for the operatic baritone, as demon-king. The work has a clear influence on Wagner's Der fliegende Holländer both in narrative and in certain elements of detail.

Though he considered himself primarily a composer of opera, he wrote many lieder, seven piano trios, and two piano quartets. These did not escape the notice of Robert Schumann, who praised the piano trios lavishly and for good reason. Marschner did not just toss off these works as an afterthought but clearly devoted considerable time and effort writing them. He gave the title "Grand Trio" to each of his works for piano, violin and cello, indicative of the importance he attached to them. In these fine works, one finds all of the emotions prevalent in the romantic movement during the mid-19th century expressed in a fresh, original and captivating manner.

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Der Vampyr, gran ópera romántica en dos actos (1828). Fragmento del acto primero.

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Hans Heiling, ópera romántica en tres actos y un prólogo (1832). Comienzo.

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Última edición por Zelenka el 24 May 2014 14:26, editado 1 vez en total

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Der Vampyr abre la temporada 2008/2009 de Bolonia dentro de un mes...así que ya contaré qué me pareció... :wink:


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Sir Edward Elgar (1857-1934) He was born in Broadheath, Worcestershire, England. His father played the organ and directed the choir in St. George's Catholic Church, was a violinist in local orchestras, and ran a music store. This musical ambience was school and conservatory for Edward, who received no formal musical education except for a few violin lessons. He served his apprenticeship as a church organist, choirmaster, and director of amateur orchestras and the band of the county mental institution. The focus of musical activity was the annual choir festival, when distinguished conductors and soloists performed oratorios by George Frederick Handel and Felix Mendelsohn, as well as newly commissioned works, with the local choir.

Elgar's earliest works were for his church choir, and in later years his most important compositions were large oratorios commissioned for choir festivals. Through these performances he became known throughout England. His first important orchestral piece was the Enigma Variations (1899). The "enigma" refers to the theme on which the variations are written, a countertheme to an unnamed and unplayed melody. There have been many conjectures about the mysterious theme, but its identity has never been determined. Each of the variations is labeled with the initials or nickname of friends of the composer, and each variation is a musical character sketch. The piece is beautifully orchestrated and written.

Elgar's choral masterpiece is The Dream of Gerontius (1900). Written to a religious poem by Cardinal Newman, it is perhaps the finest English composition of the Victorian era. It is Wagnerian in its use of leitmotivs characterizing the protagonists and situations, the rich, chromatic harmony, and the masterful orchestral writing. Other important works by Elgar are the Violin Concerto (1910) and two overtures, Cockaigne (1910) and Falstaff (1913). His best-known piece is Pomp and Circumstance No. 1 (1901), a concert march from which the patriotic hymn "Land of Hope and Glory" was written. Its honest, brilliant tunes epitomize the optimism of Edwardian England. Elgar was knighted in 1904 and named master of the king's music in 1924. By the time of his death the younger 20th-century composers had made his music seem old-fashioned. Later evaluations, however, have been more generous, and Elgar's place in music seems once again assured.

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The Spanish Lady, ópera incompleta (1934). Fragmento del acto primero.

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Última edición por Zelenka el 24 May 2014 14:28, editado 2 veces en total

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Elliot Cook Carter Jr. (1908-2012) He was born in New York City, the son of a wealthy businessman. His initial education was at the Horace Mann School and at Harvard, where he obtained a B.A. in English, in 1930; two years later, he got his M.A. in Music, after studies with Walter Piston and Gustav Holst. He also received early encouragement from Charles Ives. From Harvard, he went to Paris, studying at the Ecole Normale de Musique and taking private lessons with Nadia Boulanger. Carter had an interest in modern music almost from the beginning (in fact, he once said that he took his degrees at Harvard so he could be near the Boston Symphony Orchestra, which under Serge Koussevitzky's direction was performing a broad range of contemporary compositions at the time). But he also sang in a madrigal group and conducted choral concerts in Paris, and has pursued interests in mathematics, literature, and languages. After his return to the U.S., he served as the musical director of the Ballet Caravan from 1937 to 1939. From 1940 on, Carter has held an impressive variety of teaching posts at, among others, St. John's College, Annapolis (1940-1942); the Peabody Conservatory (1946-1948); Columbia University (1948-1950); Queen's College, New York (1955-1956); Yale University (1960-1962); the American Academy in Rome (1963 and 1967); and the Juilliard School (1972). Carter has also been the recipient of many honors and awards, including honorary doctorates from almost a dozen universities, many foundation grants, a Prix de Rome, two Guggenheim fellowships, and Pulitzer Prizes for his second (1960) and third (1973) string quartets.

His ballet Pocahontas, written for the Ballet Caravan, and the Holiday Overture (1944) are representative of Carter's early style, a fusion of Igor Stravinsky's neo-Classicism and the American populism of Aaron Copland. In the mid-'40s, however, Carter decided that the style he had employed to that point avoided some important modes of expression. Subsequent works, such as the 1946 Piano Sonata and the 1948 Cello Sonata, employ more dissonance and rhythmic complexity. Carter developed his notion of "metrical modulation," in which one tempo leads gradually to another through changing the note values in different voices of the ensemble. One starts to hear this process in the String Quartet No. 1 (1951), and colorful works like the Variations for Orchestra (1954-1955), the Double Concerto (1961) and the String Quartet No. 2 develop those ideas further. Carter also occasionally develops dramatic scenarios for his compositions. The String Quartet No. 3, for example, pits two duos (violin/viola and violin/cello) against one another as they play in different tempos and rhythms; Claus Adam of the Juilliard Quartet, which premiered the work, called it the most difficult work the quartet had ever played. Carter has gone on to write a total of five quartets, along with a variety of symphonic works, concertos, chamber and solo pieces and, in the late '70s and early '80s, a handful of vocal works. He has continued to be productive: Carter's Symphonia: sum fluxae pretium spei (1993-1996), which he completed at the age of 88, was received with great enthusiasm. Carter astounded the music world by creating his first opera, What Next? (1998), at the age of 90.

Chris Morrison

What Next?, ópera en un acto (1999). Comienzo.

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Última edición por Zelenka el 24 May 2014 14:32, editado 2 veces en total

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Gran compositor, que pronto cumplirá sus primeros 100 años. :aplauso:

Y muy interesante esta ópera de senectud, exuberante y sorprendentemente juvenil.


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