#Orchestre révolutionnaire et romantique

[clamarcap]

Per uno e per quattro

Per uno e per quattro

Albert Lortzing (23 ottobre 1801 - 1851): Konzertstück in mi maggiore per corno e orchestra. Peter Damm, corno; Staatskapelle Dresden, dir. Siegfried Kurz. Il brano, in un unico movimento, si articola nelle seguenti sezioni: Andante – Variazioni – Poco più lento – Allegretto – Tempo I – Allegretto – Cadenza – Tempo I. Robert Schumann (1810 - 1956): Konzertstück per 4 corni e orchestra op. 86…

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#Albert Lortzing #Gavin Edwards #John Eliot Gardiner #Orchestre révolutionnaire et romantique #Peter Damm #Robert Maskell #Robert Schumann #Roger Montgomery #Siegfried Kurz #Staatskapelle Dresden #Susan Dent

[doyoueverstopandthink]

umbrella academy characters as music on my playlist of my favorite classical pieces

luther: Symphony No. 6 in F Major, Op. 68 “Pastoral”: II. Szene am Bach: (Andante molto mosso) - Ludwig Van Beethoven (performed by Orchestre Révolutionnaire et Romantique with John Eliot Gardiner as the conductor) 

fits season three luther the best

this is the lightest movement of the symphony, which i think fits in with him falling in love with sloane and working on growing through his childhood trauma

the last phrase of the piece is viewed as two birds taking flight. that’s literally him and sloane. 

diego: Träumerei (Kinderderszenen, Op. 15) - Gemafrei - Robert Schumann (performed by Ronny Matthes)

also fits season three diego best

this is from a collection of schumann writing pieces that highlight his life (this one is from his dreaming during childhood)

he now has a child (in stan and in his and lila’s biological child) and is essentially dreaming of all the ways he’s going to do better at raising his kid than his dad did for him

allison: Piano Sonata No. 3 in A Minor, Op. 28 - Sergei Prokofiev (performed by Matti Raekallio)

this is a piano sonata that doesn’t have actual movements separating it into chunks, just a vibe difference throughout different parts of it

the most technically demanding of prokofiev piano sonatas and he said it was “pretty, interesting, and practical” (which fits allison pretty well) 

klaus: Otello, Act 4: “Ave Maria” (Desdemona) - Guiseppe Verdi (performed by Cristina Gallardo-Domas, Maurizio Barbacini, and Das Münchner Rundfunkorchester)

desdemona’s last moments on stage before getting murdered by her husband, and she’s essentially saying “i love this man with my whole heart and i need to prove that to him before something drastic happens” 

klaus is very much so the same due to his whole “i love dave with my whole heart and i need to prove that to him before he dies in a war that uselessly killed a shit ton of people” 

they’re also both characters that are unapologetically in love

five: String Quartet No. 8 in C Minor, Op. 110: 1. Largo - Dmitri Shostakovich (performed by the Borodin Quartet)

if the second movement is five in seasons one and two, the first movement is five in season three

he’s pissed off with the world around him, yet he’s stuck with this bone deep tiredness that he can’t get rid of

he just wants all the difficulties in his life to fade away so he can go back to living as close to a normal life as he can

ben: Act 3: LII. Juliet’s Death - Sergei Prokofiev (performed by the Oslo Philharmonic Orchestra with Vasily Petrenko as the conductor)

ben is dead in season one and two, but the audience knows that he’s still capable of interacting with others due to klaus’s powers, and the audience knows juliet isn’t actually dead, but romeo thinks she is

this movement is one of the most heart-wrenching in all of classical music 

the movement that follows is juliet’s actual death, ending on an even sadder note that this movement began with (similar to ben fucking dying again)

viktor: Symphony No. 4 in F Minor, Op. 36: I. Andante sostenuto - Moderato con anima - Pyotr Ilyich Tchaikovsky (performed by San Francisco Orchestra with Michael Tilson Thomas as the conductor)

it’s believed that tchaikovsky composed this when he was pissed off at the world for his inability to be openly queer and he just ended up being tired of everything

follows viktor’s storyline of coming into your true identity and trying to find a sense of confidence with it

lila: Piano Trio in G Major, L. 5: III. Andante espressivo - Claude Debussy (performed by Bertrand Chamayou)

very little is known about the history of the piece (which fits lila)

there’s a lot of emotion present with a lot of vibrato present in the stringed instruments, giving an additional sense of longing

the climax of the piece is very accented, giving it a sense of almost sadness and keeping that longing present

#you know i was tempted to do diego and lila's theme for either of them #or ben's death theme for ben #or goodbye delores for five because those are all in this playlist sooooo #luther hargreeves #diego hargreeves #allison hargreeves #klaus hargreeves #five hargreeves #ben hargreeves #viktor hargreeves #lila pitts #the umbrella academy #umbrella academy #tua #beethoven #schumann #prokofiev #verdi #shostakovich #tchaikovsky #debussy #classical music

[gasparodasalo]

Ludwig van Beethoven (1770-1827) - Symphony No. 1 in C-Major, Op. 21, II. Andante cantabile con moto. Performed by John Eliot Gardiner/Orchestre Révolutionnaire et Romantique on period instruments.

#Ludwig van Beethoven #classicism #classical music #symphony #orchestra #period performance #period instruments #beethoven #strings #string orchestra #sinfonia #woodwinds #brass #band #horns

[onenakedfarmer]

Currently Playing

Carl Maria von Weber OBERON, or THE ELF KING'S OATH, J 306 (1826)

John Eliot Gardiner

Hillevi Martinpelto, Jonas Kaufmann, Steve Davislim, Frances Bourne, Roger Allam, Charlotte Mobbs, Marina Comparato, Lindsay Wagstaff, Mark Dobell, William Dazeley, Katherine Fuge, Charlotte Mobbs

Orchestre Révolutionnaire et Romantique Monteverdi Choir

#1826 #2002 #currently playing #opera #Carl Maria von Weber #John Eliot Gardiner #Hillevi Martinpelto #Jonas Kaufmann #Steve Davislim

[markseow]

BBC Proms

3 September 2023

Berlioz Les Troyens. Orchestre Révolutionnaire et Romantique, Monteverdi Choir, conducted by Dinis Sousa. Soloists: Alice Coote, Michael Spyres, Paula Murrihy, Beth Taylor, Laurence Kilsby, Lionel Lhote, Ashley Riches, Adèle Charvet, Rebecca Evans, Alex Rosen, Tristan Hambleton, Graham Neal, Sam Evans

Royal Albert Hall, London

#royalalberthall #bbcproms #orr #berlioz #opera #monteverdichoir #dinissousa #alicecoote #michaelspyres #paulamurrihy #bethtaylor #laurencekilsby #lionellhote #ashleyriches #adelecharvet #rebeccaevans #alexrosen #tristanhambleton #grahamneal #samevans

[kunstplaza]

[il-nero-virtuoso]

Symphony No.3 In E-Flat Major, Op. 97 "Rheinische” - IV. Feierlich

By Composer Robert Schumann (1810-1856)

Performed By Conductor John Eliot Gardiner and Orchestre Révolutionnaire et Romantique

#symphony #symphonies #robert schumann #german composers #romantic period #classical music #listening pleasure #audio #video #il nero virtuoso

[verdiprati]

Mostly Mezzo Mondays: DiDonato, Lezhneva, Alder, Hallenberg, et al.

Mostly Mezzo Mondays: a recurring (though not weekly) feature where, on Monday nights, I blog a list of the upcoming broadcasts that have caught my eye on World Concert Hall. My interests: baroque vocal music, art song recitals, and a list of favorite singers.

Joyce DiDonato joins the Orchestre Révolutionnaire et Romantique for an all-Berlioz program at the BBC Proms. Wednesday, September 5 on BBC Radio 3.*

Julia Lezhneva sings baroque arias by Handel, Vivaldi, Porpora, and Graun, interspersed with instrumental pieces by Torelli, in a concert with the Kammerorchester Basel. Thursday, September 6 on SRF 2 Kultur.

This Theodora from the Proms looks promising: it’s got Louise Alder in the title role with Ann Hallenberg as her friend Irene, plus Iestyn Davies (Didymus), Benjamin Hulett (Septimius), and Tareq Nazmi (Valens). With Arcangelo and the Arcangelo chorus, conducted by Jonathan Cohen. Friday, September 7 on BBC Radio 3.*

* BBC Radio 3 generally makes concert broadcasts available for listening on demand for about a month afterward. I’m not sure about SRF 2 Kultur—on a brief browse of the site, I couldn’t find any archived concerts. 

#joyce didonato #julia lezhneva #ann halllenberg #louise alder #iestyn davies #benjamin hulett #tareq nazmi #mostly mezzo mondays

[wandawwilson]

hey

Howdy!Opening Credits: "In My Place (Live)" || ColdplayWaking up: "Not Alone" || A Very Potter Musical CastFirst Day At School: "Lament" || James HornerFalling in Love: "Woman On The Slab" || David ArnoldFight Song: "Time Well Spent" || FeltbeatsBreaking Up: "Jimmy Lovine (feat. Ab-Soul)" || Macklemore & Ryan LewisLife’s OK: "Wonderland" || Natalia KillsGetting Back Together: "Requiem, Op. 48: IV. Pie Jesu" || Orchestre Révolutionnaire et RomantiqueWedding: "The Western Approach" || Trevor MorrisBirth of Child: "The Projectionist" || Sleeping at LastFinal Battle: "Reprise: The Sound of Music" || Carrie Underwood & Stephen MoyerDeath Scene: "If I Had You" || Adam LambertFuneral Song: "Us Against The World (Live)" || ColdplayEnd Credits: "Requiem Mass "Manzoni Requiem": II. Dies Irae" || Moscow Philharmonic Orchestra

[whileiamdying]

Quand Agnès Varda saluait les Cubains

A l’occasion de la mort de Fidel Castro, nous republions cet article, paru en décembre 2015, sur une exposition photo organisée au Centre Pompidou.

Par Véronique Mortaigne

Publié le 23 décembre 2015 à 16h00 Mis à jour le 28 novembre 2016 à 12h04 

En décembre 1962, la cinéaste Agnès Varda partait à Cuba. Elle était invitée par l’ICAIC (Institut cubain de l’art et de l’industrie cinématographiques) à photographier l’euphorie révolutionnaire, sur la recommandation de son collègue Chris Marker, qui venait d’y réaliser un documentaire, Cuba Si.

Agnès Varda revient à Paris en janvier 1963, riche d’environ 4 000 clichés d’une grande qualité. Le Centre Pompidou, qui a acquis 145 de ces tirages argentiques, en propose la découverte dans l’exposition « Varda/Cuba », présentée à la galerie de photographies du musée, jusqu’au 1er février 2016. Les commissaires ont voulu redéfinir les talents d’Agnès Varda en photographe, un art auquel elle fut formée à l’Ecole de Vaugirard, avant de basculer vers le cinéma.

Années « de révolution cha-cha-cha »

« Varda/Cuba » présente également Salut les Cubains, un documentaire de vingt minutes réalisé en filmant ces photographies cubaines, à l’aide du procédé du « banc-titre », couramment utilisé dans le cinéma d’animation.

La bande-son, collée au récit (dit par Varda et Michel Piccoli), est un très beau déroulement de rumba, de son, de guaguancó, de guaracha… « Je voulais montrer, entre autres, les sources africaines, haïtiennes, françaises, catholiques de la musique cubaine », précise Agnès Varda.

Cuba vit alors ses années « de révolution cha-cha-cha », festive et euphorique. La crise des missiles d’octobre 1962 – des missiles nucléaires soviétiques sont pointés vers les Etats-Unis – n’a pas ébranlé le bouillonnement cubain. Au contraire, l’« île rouge » prolonge avec délectation la joie d’avoir expulsé les Américains et leur suppôt, le dictateur Fulgencio Batista, renversé en 1959 par Castro et ses compagnons.

Aucune contingence formelle

Les photographies d’Agnès Varda, souvent déployées en séries, exaltent cette liberté, libres elles-mêmes de toute contingence formelle.

« La nourriture manquait, il n’y avait pas de camions pour la transporter, mais on faisait des films, on faisait des expositions et on dansait beaucoup », rappelle Agnès Varda. « Salut aux révolutionnaires qui ont eu le mal de mer… Salut aux révolutionnaires lyriques… Salut aux révolutionnaires romantiques », dit le commentaire – photographies de vagues floues, de bateaux, de Fidel Castro sur fond de pierres qui lui font des ailes d’ange.

A cette époque, outre Chris Marker, bon nombre d’intellectuels ont déjà fait le voyage à Cuba, de Jean-Paul Sartre à Simone de Beauvoir, de Gérard Philipe au Néerlandais Joris Ivens, qui y a tourné en 1961 Carnet de Viaje et Pueblo en Armas.Tous ont appris les bases du cha-cha-cha, musique et danse afro-cubaine, signe d’une recherche intense des racines de la cubanité.

Avec un Leica, Varda photographie les coupeurs de canne, les brigades d’alphabétisation, les jeunes cinéastes, le peintre Wifredo Lam, l’écrivain et musicologue Alejo Carpentier, le poète Roberto Retamar…

Célébrités et anonymes

Dans les tirages proposés au Centre Pompidou, on verra des célébrités et de nombreux anonymes, fumeurs de cigares, patineurs à roulettes, danseurs de rue, mais aussi des personnages clés d’une île qui basculait d’un monde à l’autre dans les années 1960.

Ainsi, le grand chanteur Benny Moré (1919-1963), le « barbare du rythme », qu’Agnès Varda croise par hasard dans un supermarché et à qui elle demande de danser. Moré est une légende cubaine. Compositeur de Bonito y Sabroso, un standard repris par la suite par les plus grands noms de la salsa, d’Oscar D’leon ou Celia Cruz, l’homme noir menait un orchestre au son latin et jazzé, en riant à gorge déployée. Une trentaine de tirages de Benny Moré sont exposés : en gros plan, moustache bien taillée, canne et panama vissé sur le crâne, élégant, ironique.

Dans cette très belle galerie de portraits figure Sara Gomez (1943-1974), jeune documentariste de l’ICAIC. Les autorités l’avaient chargée d’accompagner Agnès Varda à Santiago de Cuba, et de l’aider « à discuter avec les gens, rencontrer les paysans, se souvient la cinéaste. J’ai vu arriver cette petite femme amusante, extrêmement vivante ». Cette enfant de la révolution avait rejoint les rangs de l’ICAIC en 1961, l’année du débarquement américain dans la baie des Cochons.

Racines africaines de la société cubaine

Sara Gomez, qui s’intéressait aux marges, au grand dam des gardiens de la révolution, a tourné dix documentaires avant de mourir d’une crise d’asthme à l’âge de 31 ans, alors qu’elle terminait son premier long-métrage, De cierta manera.

Elle était noire, dans un pays où le mélange racial n’avait pas effacé les différences de statut héritées des temps esclavagistes. La jeune Sara jette alors un regard aigu sur les racines africaines de la société cubaine, à commencer par les siennes, celles de sa famille, tous des musiciens.

« J’ai demandé à “Sarita” [son surnom] et à de jeunes auteurs, techniciens, opérateurs de l’ICAIC, de venir danser un cha-cha-cha dans les rues d’un quartier très populaire. Sarita était en costume militaire, mais d’une parfaite féminité. Sur tout cela régnait un mélange d’admiration pour Fidel, et de liberté », souligne Agnès Varda. « C’est le cha-cha-cha final », écrit alors la réalisatrice.

« Varda/Cuba ». Centre Pompidou, galerie de photographies (niveau – 1), Paris 4e. Tous les jours sauf mardi, 11 heures à 21 heures. Entrée libre, jusqu’au 1er février 2016. Catalogue, éd. Xavier Barral, 170 pages, 39 euros.

Véronique Mortaigne

#agnès varda #fidel castro #cuba #cubains #véronique mortaigne

[aearmstraing]

Beethoven, Symphony No. 9 in D minor, Op. 125, Movement 1

Performed by Orchestre Révolutionnaire et Romantique and John Gardiner

1994

One of, perhaps, the “purest” recordings of Beethoven’s legendary 9th symphony courtesy of one of the most dedicated historically-informed performance (HIP: look it up) ensembles, as well as one of the most searing and violent.

#beethoven #hip #symphony no. 9

[38-122]

Beethoven: Missa Solemnis, Op. 123 Notes

Overview:  I’ve never bothered much with Beethoven’s Missa Solemnis.  As much as I’m a Beethoven freak, it never captured my attention like the great Ninth Symphony in the past (which I listened to every day for nearly 2 years in college). However, with his 250th anniversary and a developing interest in his late period works, I have some notes after spending a lot of time listening and reading about this great work in the past couple of weeks.

Interesting notes:

Beethoven’s first intention was to write music for the Mass celebrating the investiture of Archduke Rudolph, his patron and sometime pupil, as a Prince of the Church.

It took 4 years to complete after many, many revisions and reworking over years.  

Composed from 1819-1823, as material for the Diabelli Variations/9th Symphony are also found in the same sketchbooks.  “The sketchbooks for the period show Beethoven deliberately copying out, intentionally absorbing passages from Handel’s Messiah and Bach’s Art of the Fugue.” (pg 142 of Beethoven, by Ates Orga).

After he missed the intended ceremony by 3 years, he tried to sell the work to 10 different subscribers, but “Schott eventually published the score a week or so after Beethoven’s death, thus he never saw in print the work that he regarded to be the greatest single achievement in his life.”  (pg 152 of Beethoven, by Ates Orga)

Due to the demands and requirements of the piece, it’s not played very often. 

 Recommended links and sources:

A great write up at Classical Notes.

Jan Swafford’s write up at NPR.

Michael Tilson Thomas notes.

Score is here.  It’s fun to listen to with the score up.  

A great discussion from the BBC.  Long, but thorough walk through of the history of recording this beast.  I tend to agree with their final candidate for best recording Carlo Maria Guilini.

Newer versions written up by the New Your Times.

Personal Notes:  I’ve listened to this massive work everyday for 2 weeks now.  I find I love it.  It’s not a typical Beethoven work where his familiar forms are present.  There’s lots of fugues/counterpoint and just a massive thick sound.  It’s a demanding piece to listen to, as I’m sure to perform.  My favorite parts are when the organ comes in the Gloria.  One can get lost in this wonderscape of sound and emotion.  I would love to hear this live.

Recording notes:  There’s many versions up on Youtube that I’ve enjoyed:

The highly acclaimed 1989 recording of Sir John Gardiner with Monteverdi Choir, Orchestre Révolutionnaire et Romantique.

Sir Colin Davis with London Philharmonic Choir and the London Symphony Chorus with the London Symphony Orchestra.

Leonard Bernstein with Concertgebouworkest Amsterdam.

I ended up buying these versions:

Otto Klemperer 1955  New Philharmonia Chorus & Orchestra

Carlo Maria Giulini with New Philharmonia Chorus, New Philharmonia Orchestra, London Philharmonic Orchestra

James Levine 1991 live with Vienna Philharmonic and 3 choirs (fat boi)

Herbert Von Karajan 1966 Berlin Philharmonic/Wiener Singverein

I still need to find/listen to the Eugen Jochum recording, which I understand may be the finest.

#beethoven #missa solemnis

[gasparodasalo]

Robert Schumann (1810-56) - Unfinished “Zwickau” Symphony in g-minor, WoO 29, I. Moderato - Allegro. Performed by John Eliot Gardiner/Orchestre Révolutionnaire et Romantique on period instruments.

#Robert Schumann #romanticism #classical music #symphony #orchestra #period performance #period instruments #sinfonia #philharmonic #schumann #unfinished symphony #strings #string orchestra #band #woodwinds #horn #horns #brass #brass instruments

[johnjpuccio]

Review of “Beethoven Revolution: Symphonies 1-5.”  Jordi Savall, Le Concert des Nations. Alia Vox AVSA9937

Perhaps it was the pioneering set of Beethoven symphonies on period instruments that put me off the idea of period instrument performances of these symphonies. Norrington’s recordings at the time seemed fun, but they just did not seem to bear up to repeated listening. Later, I did come to enjoy David Zinman’s recordings with his Zurich Tonhalle Orchestra, which combined the energy and brisk tempos of the “historically informed practices” approach of Norrington with a modern orchestra.

More recently, I found the 5-CD boxed set of Beethoven symphonies featuring the period-instrument Orchestre Révolutionnaire et Romantique led by conductor John Eliot Gardner for sale at an irresistibly low price at one of the several used book/media stores in the area whose shelves I peruse at regular intervals. (“Hello! My name is Karl and I am a CDaholic.”) This budget-priced box was released in 2010, replacing the set that was originally released in 1994. It proved to be an enjoyable set; as a bonus, my auditioning of it led me finally to appreciate Beethoven’s Symphony No. 2, which I had pretty much completely ignored throughout my long so-called life. Although Gardiner may not usually be my first choice when I want to hear a Beethoven symphony, I have enjoyed the set thoroughly and do return to it from time to time.

Having had my interest in period-instrument recordings resuscitated and recharged by the Gardiner set, I was intrigued to hear these new renditions of Symphonies Nos. 1-5 by the Catalonian conductor, viol player, and early music specialist Jordi Savall (b. 1941) leading his hand-picked orchestra, Le Concert des Nations

To read the full review, click here: 

https://classicalcandor.blogspot.com/2020/12/beethoven-revolution-symphonies-1-5.html

Karl W. Nehring, Classical Candor

#Classical Music #Classical Music Reviews #Classical Music Albums #Classical Music Album Reviews #Music #Music Reviews #Music Albums #Music Albums Reviews #Beethoven #Savall #SACD

[markseow]

Berliner Festspiele

1 September 2023

Berlioz Les Troyens. Orchestre Révolutionnaire et Romantique, Monteverdi Choir, conducted by Dinis Sousa. Soloists: Alice Coote, Michael Spyres, Paula Murrihy, Beth Taylor, Laurence Kilsby, Lionel Lhote, Ashley Riches, Adèle Charvet, Rebecca Evans, Alex Rosen, Tristan Hambleton, Graham Neal, Sam Evans

Berlin Philharmonie

#berlin #germany #berlinerfestspiele #musikfestberlin #berlioz #opera #orr #monteverdichoir #dinissousa #alicecoote #michaelspyres #paualmurrihy #bethtaylor #laurencekilsby #lionellhote #ashleyriches #adelecharvet #rebeccaevans #alexrosen #tristanhambleton #grahamneal #samevans #berlinphil

[khwethemule]