Sunday, February 28, 2010
BERLINER BAROCK SOLISTEN - SANDRINE PIAU, BERNARD FINCK, B. FORCK
L'ensemble des Berliner Barock Solisten comprend essentiellement des membres de la Philharmonie de Berlin, auxquels se joignent des musiciens spécialisés dans la musique ancienne. Leur propos : une interprétation fidèle du répertoire sur des instruments d'époque, mais aussi la redécouverte de partitions méconnues.
Les Berliner Philharmoniker ont eu l'occasion d'être dirigés par des chefs spécialisés dans le baroque comme Nikolaus Harnoncourt, Philippe Herreweghe ou John Eliot Gardiner. L'enthousiasme qui en résulta pour le répertoire des XVIIème et XVIIIème siècles conduisit à la fondation des Berliner Barock Solisten en 1995. Les musiciens jouent sur des instruments anciens modernisés, avec des cordes en boyau et des archets différents selon les conventions d'interprétation propres à la période des oeuvres choisies.
Leur programme mêle des incontournables, comme le Stabat Mater de Pergolesi, et des pages un peu tombées dans l'oubli, comme le Concerto grosso de Francesco Durante. De lui, qui fut d'ailleurs le maître de Pergolèse, Rousseau disait dans son Dictionnaire de musique qu'il est « le plus grand Harmoniste de l'Italie, c'est-à-dire du monde ».
Au programme :
- Francesco Durante, Concerto grosso pour cordes n°1 en fa mineur
- Johann Adolf Hasse, Salve Regina
- Domenico Gallo, Suonate a quattro "La Follia"
- Giovanni Battista Pergolesi, Stabat Mater
Avec :
- Sandrine Piau, soprano
- Bernarda Fink, mezzo-sorano
- Bernhard Forck, violon et direction
Berliner Solisten..
Les Berliner Philharmoniker ont eu l'occasion d'être dirigés par des chefs spécialisés dans le baroque comme Nikolaus Harnoncourt, Philippe Herreweghe ou John Eliot Gardiner. L'enthousiasme qui en résulta pour le répertoire des XVIIème et XVIIIème siècles conduisit à la fondation des Berliner Barock Solisten en 1995. Les musiciens jouent sur des instruments anciens modernisés, avec des cordes en boyau et des archets différents selon les conventions d'interprétation propres à la période des oeuvres choisies.
Leur programme mêle des incontournables, comme le Stabat Mater de Pergolesi, et des pages un peu tombées dans l'oubli, comme le Concerto grosso de Francesco Durante. De lui, qui fut d'ailleurs le maître de Pergolèse, Rousseau disait dans son Dictionnaire de musique qu'il est « le plus grand Harmoniste de l'Italie, c'est-à-dire du monde ».
Au programme :
- Francesco Durante, Concerto grosso pour cordes n°1 en fa mineur
- Johann Adolf Hasse, Salve Regina
- Domenico Gallo, Suonate a quattro "La Follia"
- Giovanni Battista Pergolesi, Stabat Mater
Avec :
- Sandrine Piau, soprano
- Bernarda Fink, mezzo-sorano
- Bernhard Forck, violon et direction
Berliner Solisten..
Thursday, February 25, 2010
Wednesday, February 24, 2010
J.P.RAMEAU
Jean-Philippe Rameau (French pronunciation: [ʒɑ̃filip ʀaˈmo]) (September 25, 1683, Dijon – September 12, 1764) was one of the most important French composers and music theorists of the Baroque era.[1] He replaced Jean-Baptiste Lully as the dominant composer of French opera and is also considered the leading French composer for the harpsichord of his time, alongside François Couperin.[2]
Little is known about Rameau's early years, and it was not until the 1720s that he won fame as a major theorist of music with his Treatise on Harmony (1722). He was almost 50 before he embarked on the operatic career on which his reputation chiefly rests. His debut, Hippolyte et Aricie (1733), caused a great stir and was fiercely attacked for its revolutionary use of harmony by the supporters of Lully's style of music. Nevertheless, Rameau's pre-eminence in the field of French opera was soon acknowledged, and he was later attacked as an "establishment" composer by those who favoured Italian opera during the controversy known as the Querelle des Bouffons in the 1750s. Rameau's music had gone out of fashion by the end of the 18th century, and it was not until the 20th that serious efforts were made to revive it. Today, he enjoys renewed appreciation with performances and recordings of his music ever more frequent.
Little is known about Rameau's early years, and it was not until the 1720s that he won fame as a major theorist of music with his Treatise on Harmony (1722). He was almost 50 before he embarked on the operatic career on which his reputation chiefly rests. His debut, Hippolyte et Aricie (1733), caused a great stir and was fiercely attacked for its revolutionary use of harmony by the supporters of Lully's style of music. Nevertheless, Rameau's pre-eminence in the field of French opera was soon acknowledged, and he was later attacked as an "establishment" composer by those who favoured Italian opera during the controversy known as the Querelle des Bouffons in the 1750s. Rameau's music had gone out of fashion by the end of the 18th century, and it was not until the 20th that serious efforts were made to revive it. Today, he enjoys renewed appreciation with performances and recordings of his music ever more frequent.
Sunday, February 21, 2010
Saturday, February 20, 2010
IL MONDO DE LA LUNA IN AMNH TRAILER
''Neal Goren, the founding artistic director of the enterprising Gotham Chamber Opera, after taking his nephew to the Hayden Planetarium in the American Museum of Natural History one day, thought it would be the perfect place to present a production of Haydn’s fanciful opera “Il Mondo Della Luna.”
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