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  • Actualités - Satirino
    de Kaposvár en Hongrie le 18 août dernier est disponible en streaming Vous pourez le voir via ce lien http kaposvarmost hu videok kaposvar most 2014 08 18 kodaly z szonata szolo csellora 12910 html Archives octobre 2015 2 septembre 2015 2 juillet 2015 1 août 2015 2 avril 2015 1 janvier 2015 1 novembre 2014 1 août 2014 3 mai 2014 2 juin 2014 1 mars 2014 2 février

    Original URL path: http://www.satirino.fr/fr/news/marc-coppey-kaposvar-festival-kodaly-video (2015-10-11)
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  • Actualités - Satirino
    recording L enregistrement par le London Haydn Quartet des quatuors Opus 33 de Haydn sur le label Hyperion est séléctionné pour un Gramophone Award Archives octobre 2015 2 septembre 2015 2 juillet 2015 1 août 2015 2 avril 2015 1 janvier 2015 1 novembre 2014 1 août 2014 3 mai 2014 2 juin 2014 1 mars 2014 2 février 2014 1 Actualités Copyright 2015 Satirino Sarl 5 Place Tanguy Prigent

    Original URL path: http://www.satirino.fr/fr/news/gramophone-award-nomination-for-london-haydn-quartet-s-opus-33-recording (2015-10-11)
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  • Actualités - Satirino
    de Brahms avec l Orchestre Philharmonique de Târgu Mures dans le magnifique Palais de la Culture à Târgu Mures Vous pouvez regarder et écouter l enregistrement de ce concerto dans son intégralité ci dessous Archives octobre 2015 2 septembre 2015 2 juillet 2015 1 août 2015 2 avril 2015 1 janvier 2015 1 novembre 2014 1 août 2014 3 mai 2014 2 juin 2014 1 mars 2014 2 février 2014

    Original URL path: http://www.satirino.fr/fr/news/ferenc-vizi-enregistrement-video-en-concert-1er-concerto-de-brahms (2015-10-11)
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  • Actualités - Satirino
    Green Room dernière la scène de la salle le samedi 10 mai Vous pouvez en lire plus sur le site du Wigmore Hall via ce lien http www wigmore hall org uk about us news tak C3 A1cs string quartet awarded the wigmore hall medal Archives octobre 2015 2 septembre 2015 2 juillet 2015 1 août 2015 2 avril 2015 1 janvier 2015 1 novembre 2014 1 août 2014 3

    Original URL path: http://www.satirino.fr/fr/news/quatuor-takacs-recoit-la-medaille-du-wigmore-hall (2015-10-11)
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  • Actualités - Satirino
    Weiss avec la complicité de Jiri Heger à la Cité de la musique en juin et en décembre 2013 sur le clavecin Ruckers Taskin de la collection du Musée de la musique sur le label Satirino records Archives octobre 2015 2 septembre 2015 2 juillet 2015 1 août 2015 2 avril 2015 1 janvier 2015 1 novembre 2014 1 août 2014 3 mai 2014 2 juin 2014 1 mars 2014

    Original URL path: http://www.satirino.fr/fr/news/sortie-du-clavier-bien-tempere-de-bach-par-kenneth-weiss (2015-10-11)
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  • Actualités - Satirino
    de Fabio Biondi Kenneth Weiss au Carnegie Hall le 20 février 2014 et du récital de Kenneth Weiss dans la série Salon Sanctuary Concerts le 2 mars 2014 Clavier Bien Tempéré livre II Archives octobre 2015 2 septembre 2015 2 juillet 2015 1 août 2015 2 avril 2015 1 janvier 2015 1 novembre 2014 1 août 2014 3 mai 2014 2 juin 2014 1 mars 2014 2 février 2014 1

    Original URL path: http://www.satirino.fr/fr/news/revues-dans-new-york-arts-biondi-weiss (2015-10-11)
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  • Actualités - Satirino
    Your Tuneful Voice revue dans le Guardian Très belle revue de Your Tuneful Voice dans le Guardian Archives octobre 2015 2 septembre 2015 2 juillet 2015 1 août 2015 2 avril 2015 1 janvier 2015 1 novembre 2014 1 août 2014 3 mai 2014 2 juin 2014 1 mars 2014 2 février 2014 1 Actualités Copyright 2015 Satirino Sarl 5 Place Tanguy Prigent 29630 Saint Jean du Doigt France T

    Original URL path: http://www.satirino.fr/fr/news/iestyn-davies-your-tuneful-voice-revue-dans-le-guardian (2015-10-11)
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  • Satirino records - Satirino
    to consider with careful attention the slightly different qualities of each neighbouring key for detailed enjoyment of the colouristic aspect of the pieces We should remember the testament of the Polish polymath and composer Lorenz Mizler who claimed in 1754 that In tuning harpsichords Bach knew how to temper so exactly and correctly that all the keys sounded handsome and agreeable It is now generally agreed that there was no single Bach temperament and it is quite possible that he did not adhere to any of the prescribed methods Behind the interpretation of the pieces lies the question of the flux of styles Bach was by no means alone in subscribing to the fashion for fusion the 48 could be said to be fusion music par excellence Toccatas become dances dances become arias even Fugues can veer between the stile antico and the dance and sometimes end in fantasia like bravura In the later Baroque this fashion also deeply affected national styles we think particularly of Bach s identification of French suites and Italian concertos but in fact the 48 are perhaps the most extreme melting pot of the process of fusion into which the German Organ style and the archaic styles of Renaissance polyphony are also drawn in On another level it has long been recognised that both as example and accomplishment the Fugues advance the contrapuntal procedures with a variety and use of modulation which have no precursors models for future fugal composers or perhaps improvisers There remains the question of where Bach wrote the pieces and under what circumstances We have no reason to disbelieve Gerber when he claims that Bach at the time of the compilation of the first book did not compose at the keyboard What he writes next has led to speculation that Bach wrote them while he was held as a detainee for a month in prison in Weimar in 1717 He wrote his 48 in a place where ennui boredom and the absence of any kind of musical instrument forced him to resort to this pastime The idea that they were composed together is of course disproved by the earlier appearance of some of the Preludes in W F Bach s book and there are some even earlier versions but it remains possible that Bach did write some of the Preludes and Fugues of the first book in a single period of time and more possibly some from the second book Why did he embark upon a second This is a question posed by several Bach scholars Many pertinent answers have been suggested reminding us that Bach s craft was not elevated above those of his contemporaries as it is today After all he was a jobbing musician in a climate where positions could be terminated without notice competition was fierce and appointments were not made entirely without prejudice He was a difficult man an unforgiving taskmaster and hard negotiator And he had more and more children to educate and support Did he also perhaps use the volume to assuage criticism from Johann Adolph Scheibe among others that he wrote in a heavy outmoded style One of the noticeable innovations in Book II is in the number of Preludes written in binary form pieces in two parts with repeats Ten of these are found in this book as opposed to only one in the first This was Bach lightening up and responding to changes in fashion The principle of binary structure which had been largely confined to dance movements had now also affected character pieces as well as Sonatas In addition the second book has more Preludes which are based on a succession of musical ideas a characteristic development in musical form increasing towards the middle of the eighteenth century not least in the Sonatas of Domenico Scarlatti Perhaps these features explain why some commentators have found Book II to be more expressive As for the Fugues in Book II Mattheson was an active rival inviting Bach to comment on his fugues Bach may have done this in music rather than words in Book II augmenting his legacy to 48 The variety of types of Fugue some distinctly within the stile antico heritage others much lighter and closer to the Inventions is no less than in Book I but there is a noticeable increase in ingenuity particularly in the ways in which the fugal material is funneled through various keys A question much debated by interpreters is whether there was any intended relationship apart from the sharing of keys between the Preludes and Fugues Pianists have frequently based their interpretations on the assumption that there is often playing Fugues to fit the mood of the way they play the Preludes and perhaps vice versa frequently imposing romanticised concepts on them albeit sometimes very beautifully What is clear is that for Bach the Fugues were not academic exercises but just as much as the Preludes compositions aimed at developing the keyboard skill of communicating complex counterpoints through the fingers The various sources for Book II confirm a similar pattern There are earlier versions of many of the pieces thus it was in part a compilation rather than a new composition The composer s second wife Anna Magdalena is one of the copyists of the principal source for Book II now in the British Library in London and known as the London Autograph Enthusiasts can obtain a facsimile of this volume as well as that of Book I and Bach scholars have detailed the accretions in following copies including alternative passages different accidentals and added ornaments particularly by W F Bach Copying in those days was an important part of the learning process and many of his pupils seem to have made a copy Of particular interest is one made by his pupil Kirnberger which includes fingerings This recording without in any way claiming any particular authenticity whatever that means approaches from the standpoint of a deep relationship with the harpsichord itself and with

    Original URL path: http://www.satirino.fr/artist_records/18 (2015-10-11)
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