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  • Satirino records - Satirino
    hear I ve got quite a deep speaking voice Talking to you now quite quietly is actually very good for warming up my voice If I work on placing my speaking voice low it gives a sort of cavern in which my alto voice can resonate If you take those other singers you mentioned wonderful singers by the way their speaking voices are much more like their singing voices Mine isn t at all He freely admits to a period in the 70s when his voice suffered a breakdown It was in the wake of the deaths of both Britten and Munrow and came at a period when he was clearly doing too much He worked on it with Barbara Alden How did the voice re emerge With a much more secure technique he judged And with far more colours You know I was all bright and boyish when I was younger now the voice had darkened and I had lost a bit at the top He studied with Lucy Manen when younger but his most influential teachers have clearly been those with whom he worked from the cathedral choirmasters through professional colleagues Pears was a particular influence such generosity to younger singers and also instrumentalists I think of myself in some ways as instrumentally oriented I learn particularly from baroque players their phrasing bowing the way they shape bass lines Sometimes I feel I interact more with instrumentalists than with other singers What s going to happen when he retires Like many singers he s adamant he won t go on too long It didn t seem a happy thought I m not much good at teaching he mused overmodestly but perked up at the idea of masterclasses He seemed particularly keen on coaching singers away from his own repertoire Wagner Debussy One thing s for sure he d always have something to say Richard Langham Smith James Bowman writes All the pieces on this recording were chosen because of their connections with people events and places that have influenced my years as a singer they form a musical panorama showing the different stages of myself as a performer from church music to the opera stage As a chorister at Ely Cathedral in the 1950s we sang a great deal of plainchant The Sunday morning Mass always contained chanted items and the office hymn at our daily evensong was always sung to the appropriate plainchant setting Although ours was not the Roman Rite I wanted to include the Salve Regina as this is plainchant at it best I was introduced to the songs of John Dowland by the late Robert Spencer a wonderful lutenist and teacher of English song His knowledge of Dowland was unparalleled and he taught me all I know about lute songs Being a singer himself he understood the importance of words as well as melody If my complaints could passions move shows Dowland at his melancholy best The accompaniment is played here on the Ottavino or spinetta ottavina an octave spinet extremely popular during the 17th and 18th centuries Purcell has always been central to my repertoire as indeed he should be to all Counter tenors Here the deities approve the God of music occupies a very special place on this disc as it was the first piece of Purcell that I ever sang in public in 1956 to be precise My school at Ely had a very enlightened Director of Music Dr Arthur Wills who was also Cathedral Organist For our Summer concert he proposed a performance of the Purcell Ode Welcome to all the pleasures from which this air is taken A guest Counter tenor was engaged from one of the Cambridge College choirs to sing the alto solos and I was a member of the chorus However at the last moment the visitor from Cambridge became unavailable and I was deputed to sing in his place Although I was actually still singing on the remains of my Treble voice the Counter tenor range was beginning to appear and it was the moment when I decided that this was the voice for me The other Purcell songs in this group Sweeter than roses I attempt from love s sickness to fly and Fairest Isle were all particular favourites of my great friend and colleague David Munrow who sadly died in 1976 He loved Purcell and also the voice of Alfred Deller he claimed that Alfred s recording of Sweeter than roses introduced him to the beauties of Purcell s Music Many of our programmes with the Early Music Consort contained one or more Purcell songs Handel is obviously another key figure He wrote very little for the male falsetto preferring to concentrate on the Castrato voice However with the disappearance of that voice the field is open for the Counter tenor to explore the Alto castrato repertoire By great good fortune the two voices occupy virtually the same vocal range namely low g to high d Female singers tend to find this a little low but it is ideal for the Counter tenor The title role in Giulio Cesare is a good example of this Handel wrote many Italian Cantatas of which there are a number for the Alto voice In most cases the texts are inconsequential the usual vapid declarations of unrequited love but the cantata Ho fuggito amore has a strong text written by Paolo Rolli who wrote opera libretti for both Handel and Bononcini The aria Tacerò pur che fedele is a little gem from Agrippina It is set over an almost Purcellian ground bass with no closing ritornello just a self contained moment of reflection sung by Ottone in the midst of a very turbulent drama It is an ideal piece for a recital programme Edmund Rubbra was a familiar figure to me during my Oxford student days I encountered him socially on several occasions and found him to be a delightful person His Hymn to the Virgin is

    Original URL path: http://www.satirino.fr/artist_records/songs-for-ariel (2015-10-11)
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  • Satirino records - Satirino
    minute or so into the movement lead s us to expect new material in the tonic Instead Beethoven holds our attention with three pianissimo chords a chromatic step up from the dominant and uses these as a new tonic on which to build an extended contrapuntal section Based on the above mentioned feminine theme it sounds like a development section within the first subject area The piano enters with a Mozartian Eingang and seems to continue the mood of the feminine theme before cascading down to a more masculine cadence heralding development of the opening dotted note figure which Fiske sees as particularly Haydnesque It is the soloist who eventually gives us the second subject signalled by trills and characterised by triplets Once again Beethoven frustrates expectation with the same rogue key of D flat that had already so boldly asserted itself earlier in the movement Nor is this the last time the extreme flat keys will make their mark on the tonal structure for in the recapitulation too the closely related flat key of G flat major is suddenly introduced for more variations on the feminine theme The Largo is an aria like movement reminiscent of the most elaborate of Mozart s concerto slow movements where both soloist and wind weave garlands with or around the main theme Unusually there is a sort of cadenza written into the movement After the usual signal of a second inversion tonic chord the piano introduces a recitative like section marked con gran espressione at first entirely clouded with the sustaining pedal As if an accompagnato fragments of the theme are interspersed hushed and unadorned by the strings and a sudden unexpected and heavenly decoration by the flute brings the movement to a close The Rondo is one of those Beethovenian movements where the subversion is rhythmic rather than harmonic By throwing the accent with sforzando marks on the second quaver he follows Haydn s playfulness and creates a deliberately ungainly effect only some way into the movement do we realise that this is quite a conventional finale in compound time in a sonata rondo form whose second subject is a simple catchy melody introduced by the soloist Trangression deviation trickery whatever your viewpoint on Beethoven s increasingly wayward approach to classical forms the Fourth concerto is replete with it It is safe to assert categorically that no one had before begun a Piano Concerto with a few laid back chords from the soloist marked dolce and piano 2 And if the B flat concerto still had elements which we could trace back to Haydn and Mozart the G major can relate only to the pathway Beethoven was forging for himself It is by no means fruitless to trace a line of development between the two first movements of the B flat and the G major The wayward keys of the former have been mentioned In this case sharp keys characterise the movement riding a coach and four through the usual function of

    Original URL path: http://www.satirino.fr/artist_records/beethoven-piano-concertos-nos-2-4 (2015-10-11)
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  • Satirino records - Satirino
    di cappella of the Basilica Giulia and in Rome seems to have split his life between church and court Later in his life he several times returned there meeting Quantz and possibly the virtuoso singer Farinelli K Kirkpatrick was the first to make a serious attempt at ordering Domenico s sonatas in the 1950s He favoured the idea of pairs of sonatas in the same key for the majority of them a procedure not universally accepted Ralph Kirkpatrick born 1911 Leominster Mass USA was a pupil of the twentieth century pioneer of the harpsichord revival Wanda Landowska Apart from his career as a harpsichordist Kirkpatrick made one of the most important studies of Scarlatti entitled Domenico Scarlatti Princeton and London 1953 L Longo numbers are the other way of identifying Scarlatti s sonatas Alessandro Longo foreshadowed Kirkpatrick in cataloguing the sonatas in the 1910s and it was largely his collection that provided pianists of the twentieth century with editions of the sonatas edited for the modern piano Many notable pianists among them Dino Lipatti Horowitz and Rubenstein gave memorable performances of the sonatas by no means always relegating them to the position of encore pieces In a way Scarlatti s mastery of the keyboard transcends the limitations and advantages of particular instruments One commentator described him as the greatest harpsichordist ever and the piano s greatest advocate M Maria Barbara was perhaps the most important contact in Domenico s life as far as the composition of the harpsichord sonatas was concerned When he moved to Lisbon one of his duties was to teach the young Maria who was the talented daughter of King John V Scarlatti served her for the rest of his life and it was during this period that he composed his body of Sonatas Maria married the Spanish Crown Prince Fernando in 1728 and moved to Madrid Domenico followed her and remained there until his death N Naples was Domenico s native city At the age of 15 he obtained the post of clavicembalista da camera at the Cappella Reale Royal Chapel there Eventually his father considered the musical culture of their native city too impoverished for the talents of his most gifted son In a celebrated letter from Rome where he described his talented son as a young eagle he wrote I have forcibly removed him from Naples where though there was scope for his talent it was not the kind of talent for such a place I am removing him from Rome as well because Rome has no shelter for music which lives here as a beggar O Ottoboni Cardinal Pietro an important patron of music was an influential figure in Scarlatti s life Scarlatti attended his celebrated recitals of chamber music at the Accademie Poetico musicali while he was in Rome There he met several important musicians from around Europe including Corelli and Handel P Pasquini Bernardo Pasquini 1637 1710 was the most important Italian composer of keyboard music between Frescobaldi and Scarlatti It

    Original URL path: http://www.satirino.fr/artist_records/scarlatti-sonatas (2015-10-11)
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  • Satirino records - Satirino
    the Inventions and the Symphonies not to mention the atypical Well tempered Clavier all have the air of teaching collections But then why not bring out the two series of suites the six French Suites and six English Suites which were ready to hand No the composer wanted to provide a brilliant proof of his mastery and his talent with works that were new original and powerful So Bach produced six entirely new keyboard suites which he baptised Partitas his Opus I The first Partita appeared in the autumn of 1726 announced in the press Herr Johann Sebastian Bach Kapellmeister to His Highness the Duke of Anhalt Coethen and director of music of Leipzig has the intention of publishing a suite of works for the keyboard he has already written the initial Partita and has the intention of continuing step by step until the work is finished The other Partitas it continued were to follow slowly one a year new announcements would signal their publication with the names of the stockists through whom they could be obtained in Dresden Halle Lüneburg Wolfenbüttel Nuremberg and Augsburg By 1731 the collection was finished It was published with a handsome title page Clavier Übung consisting of Preludes Allemandes Courantes Gigues Minuets and other gallantries composed for the recreation of amateurs by Johann Sebastian Bach Kapellmeister to the Prince of Saxe Weissenfels and musical director of Leipzig Opus I Edited by the Author 1731 The term Clavier Übung already in use at that period in particular by Kuhnau Bach s predecessor at Leipzig is not easy to translate Its literal meaning is Exercises for the keyboard instrument just as Scarlatti was to talk some years later of Essercizi per gravicembalo but it could also be rendered here by Keyboard practice or even Book of the harpsichord Bach obviously had no intention of stopping there and was to continue to publish his compilations principally for the keyboard First there were the two other volumes added to the Clavier Übung the second part in 1735 with the Italian Concerto and the French Overture followed in 1739 by the third part offering a marvellously developed suite of pieces for the organ In 1741 or 1742 a new book appeared a new Clavier Übung containing a series of developments subsequently known as the Goldberg Variations During the last years of his life Bach was also to publish the Musical Offering Canonic Variations for Organ and The Art of the Fugue whose definitive version was interrupted by the composer s demise One may reasonably suppose that other collections already completed or in progress were to have followed for example a new collection of works for organ with the chorals known as the Leipzig Autograph It is evident that we are here no longer faced with the instruction of one s neighbour as in the preceding collections these are true entertainments for amateurs Particularly gifted amateurs it is true judging by the difficulty of the pieces A young lady betrothed

    Original URL path: http://www.satirino.fr/artist_records/bach-partitas (2015-10-11)
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  • Contact - Satirino
    Menguy se consacre tant à la représentation en France d artistes ensembles et orchestres étrangers qu à la représentation internationale Depuis 2001 l agence s est lancée dans l édition discographique dédiée aux artistes qu elle représente en créant le label Satirino Records Satirino est un membre à part entière de l IAMA et travaille avec l agence de voyage Continents en Fête SIRET 412 479 826 00023 Code APE

    Original URL path: http://www.satirino.fr/fr/contact (2015-10-11)
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  • Actualités - Satirino
    sentiments sets the stage for the extreme gravitas of the Fugue Fugue With its three fugal subjects and five voiced texture this large scale work is full of unsettling emotions The fatalistic stoicism of the initial subject the listless meandering of the second and the stubborn struggling of the third come together to create a compelling portrait of angst and grief This Prelude and Fugue with its arc from quiet

    Original URL path: http://www.satirino.fr/fr/news/kenneth-weiss-wtcbk1-week-4-prelude-and-fugue-no-4-in-c-sharp-minor-bwv-849 (2015-10-11)
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  • Actualités - Satirino
    C est dans la Chapelle de la Trinité à Lyon que tout va se jouer Ce lieu remarquable par son architecture baroque est parfaitement adapté à la musique de Bach Le son du violoncelle s y déploie en effet d une manière unique laissant s exprimer toute la spiritualité de l œuvre Un endroit parfait pour accueillir cette aventure de trois heures ce triple exploit à la fois musical physique

    Original URL path: http://www.satirino.fr/fr/news/marc-coppey-arte-concert-bach (2015-10-11)
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  • Actualités - Satirino
    et fugue extrait de l enregistrement de 2013 par Kenneth Weiss sur le splendide clavecin Ruckers Taskin du Musée de la musique à Paris et sera accompagné de son commentaire à propos de l évolution de sa relation avec cette oeuvre en tant que musicien et son point de vue de claveciniste dans la pratique quotidienne de cette pièce maîtresse qui a façonné sa personnalité musicale et enrichie sa vie Rendez vous donc chaque vendredi juste à temps pour le week end Et avec quelques petites interruptions pour de petites vacances et une pause estivale entre le Livre I et le Livre II nous devrions cheminer ensemble tout au long de 2016 et jusqu en 2017 En introduction Kenneth écrit Le Clavier bien tempéré de Bach si largement connu comme un sommet de la musique classique occidentale n est que rarement donné en concert Ces fascinantes compositions qui ont complètement changé la donne les bases de notre langage et de notre culture musicale une partie de notre vocabulaire commun ne doivent pas être seulement reléguées aux salle d études aux concours ou encore aux leçons de solfège Vous pouvez également lire la présentation de Kenneth Weiss pour son enregistrement via

    Original URL path: http://www.satirino.fr/fr/news/bach-s-well-tempered-clavier-by-kenneth-weiss-a-prelude-fugue-to-stream-every-week (2015-10-11)
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