Podcasts about bach partita

"Dance Talk” ® with Joanne Carey and special guest Skylar Brandt.  In this episode of "Dance Talk” ® , host Joanne Carey interviews Skylar Brandt, a principal dancer with the American Ballet Theatre. They discuss Skylar's journey from childhood dance classes to becoming a professional dancer, the importance of private coaching, and the emotional connection required in performance. Skylar shares insights into her preparation for roles, the dynamics of partnering, and her experiences as a principal dancer. The conversation also touches on her advocacy for causes close to her heart, her love for teaching, and her upcoming performances.  Skylar Brandt was born in Purchase, New York and began her training at the age of six at Scarsdale Ballet Studio. She attended the Jacqueline Kennedy Onassis School at American Ballet Theatre from 2005-2009. Brandt was a silver medalist at Youth America Grand Prix in 2004 and 2008. Brandt joined ABT II in 2009, became an apprentice with ABT in 2010, and joined the corps de ballet in 2011. She was promoted to Soloist in 2015 and to Principal in 2020. Among her leading roles with the Company are Giselle in Giselle, Medora in Le Corsaire, Kitri in Don Quixote, Odette/Odile in Swan Lake, Gamzatti in La Bayadere, Olga in Onegin, Clara, the Princess in The Nutcracker, Young Jane in Jane Eyre, Columbine in Harlequinade, Princess Praline in Whipped Cream, the Lead Maiden in Firebird, the Golden Cockerel in The Golden Cockerel, and roles in The Green Table, Pillar of Fire, The Sleeping Beauty, Bach Partita, The Brahms-Haydn Variations, Company B, Gong, In the Upper Room, Piano Concerto #1, Raymonda Divertissements, Sinfonietta, Symphonic Variations, and AFTERITE. Brandt was awarded a 2013 Princess Grace Foundation-USA Dance Fellowship. That same year, she was featured in the movie “Ballet's Greatest Hits”. In 2018, Brandt was the recipient of an unprecedented Special Jury Award for her performances on the Russian television show “Big Ballet”. In 2022, Brandt was named to the renowned "Forbes 30 Under 30" list of most influential leaders and entrepreneurs.  Skylar Brandt Website  ⁠https://www.skylarbrandt.com/ ⁠ Follow Skylar on Instagram ⁠ ⁠ ⁠@skylarbrandtballet ⁠  American Ballet Theatre Upcoming Performances  ⁠https://www.abt.org/performances/abt-on-tour/⁠  “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. ⁠⁠⁠⁠ ⁠⁠⁠⁠⁠ ⁠https://dancetalkwithjoannecarey.com/⁠⁠⁠⁠⁠ ⁠ Follow Joanne on Instagram @westfieldschoolofdance  Tune in. Follow. Like us. And Share.  Please leave us review about our podcast!  “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

From MPR News, Art Hounds are members of the Minnesota arts community who look beyond their own work to highlight what's exciting in local art. Their recommendations are lightly edited from the audio heard in the player above. Want to be an Art Hound? Submit here.Flute takes center stageRoma Duncan is a piccolo player in the Minnesota Orchestra. She recommends a concert this Sunday where the flute will take center stage. Flutist Adam W. Sadberry, accompanied by Joe Williams on piano, will perform this month's Coffee Concert at the Lakeville Area Arts Center, Sunday, Feb. 2 at 2 p.m.  Roma says: Adam's really put together an interesting program with a lot of music from Black composers. Perhaps the one that catches my attention most is the finisher on the program, “Wish: Sonatine” by Valerie Coleman. Valerie is a living composer. She's a Black woman who is a flutist and a composer, and she's gotten a ton of attention in recent years with with great reason; she always has such engaging, exciting works.  One of the big pieces that I'm also excited about is the [J.S.] Bach Partita [in A minor]. It's a real tour de force for flutists. It's not very often that we have these solo pieces where we just never stop playing. He has so many different composers on this program, so I think it'll be really fascinating to hear him switch gears so many times between different eras, different styles, different feels to his repertoire.— Roma Duncan13 years of musical marriageTheater artist Laurie Flanigan Hegge from Minneapolis recommends a light-hearted musical to see with your sweetheart: the musical “'Til Death.” Written and performed by real-life married couple Jeremiah and Vanessa Gamble of Bucket Brigade, the musical, now in its 13th season, opens Friday and runs through Feb. 15 at Art House North in St. Paul. Laurie says: This show is a Valentine to marriage and commitment and a love letter to their community on the west side of St. Paul [where they live and perform].  “‘Til Death” features two sets of couples: a married couple who have been together for 15 years but are on the brink of separation, and a newly married couple who are goofily in love with each other. The two of them come together on a snowy night in a blizzard and end up spending a kind of madcap, silly night together, where the realities of what it means to be married and committed kind of crash into each other.  It's a fun musical: warm, funny and light-hearted, and it's performed in a really intimate space called Art House North, which is an old church.— Laurie Flanigan HeggeRochester JazzJazz musician Eric Heukeshoven of Winona recommends spending your Wednesday nights this February at the Rochester City Jazz Fest. Hear live jazz at the Thesis Beer Project from 6 p.m. to 8 p.m., starting Wednesday, Feb. 5.  Eric describes the line-up: Next Wednesday, Feb. 5, is Darren Saner Quartet. Darren is a crooner from Rochester, very well known. There is a wonderful band backing him up. The next Wednesday, Feb. 12, is a group called TakeTwo & Friends. They're very much straight ahead, right in the pocket. It's piano, drums and tenor sax, but I think the “friends” indicates they're going to have people sitting in with them that night. Then on the 19th is a new group from Minneapolis called 3-D. It features guitar, bass and drums. And wrapping it up [on Feb. 26], just in time for Mardi Gras, is Loud Mouth Brass, which is a New Orleans-style brass band. They will bring down the house, I'm sure.— Eric Heukeshoven

Violinist and Interlochen Arts Academy violin instructor Tina Qu visited IPR's Studio A to perform a movement from a Bach Partita. Qu will be featured with the Traverse Symphony Orchestra in their Bach Brandenburg Concertos concert on March 17, 2024.

Mit seinen Sonaten und Partiten für Violine solo trauerte Bach um seine verstorbene Frau Maria Barbara. Deswegen überwiegen in dem Zyklus die Moll-Tonarten. Bei der dritten und letzten Partita entscheidet sich Johann Sebastian Bach für ein helles strahlendes E-Dur. BR-KLASSIK hat mit dem Geiger Gil Shaham über das Stück gesprochen.

“My first album for Deutsche Grammophon stems from a desire to share my love for Baroque music,” says rising-star French guitarist Raphaël Feuillâtre. Visages baroques, presents music by J.S. Bach and his French contemporaries Forqueray, Rameau, Royer and Duphly. The carefully curated programme translates works mostly conceived for solo harpsichord into the colourful soundworld of the guitar. They are performed by the first guitarist signed to DG in many years, an artist hailed as “a tremendously versatile and sensitive player” (Classical Guitar). Raphaël Feuillâtre J.S. Bach: The Well-Tempered Clavier, Book 1, BWV 846-869 / Prelude & Fugue in C Major, BWV 846: I. Prelude (Transcr. for Guitar) 01:56 Raphaël Feuillâtre Royer: Pièces de clavecin, Book 1: No. 6, L'aimable (Arr. Feuillâtre for Guitar) 04:29 Raphaël Feuillâtre J.S. Bach: Concerto No. 1 in D Major, BWV 972 (After Vivaldi RV 230): I. Allegro (Arr. Perroy for Guitar) 02:30 Raphaël Feuillâtre J.S. Bach: Concerto No. 1 in D Major, BWV 972 (After Vivaldi RV 230): II. Larghetto (Arr. Perroy for Guitar) 04:07 Raphaël Feuillâtre J.S. Bach: Concerto No. 1 in D Major, BWV 972 (After Vivaldi RV 230): III. Allegro (Arr. Perroy for Guitar) 02:35 Raphaël Feuillâtre Rameau: L'entretien des muses, RCT 3/6 (Arr. Grizard for Guitar) 05:46 Raphaël Feuillâtre Rameau: Les cyclopes, RCT 3/8 (Arr. Grizard for Guitar) 03:49 Raphaël Feuillâtre J.S. Bach: Partita in B-Flat Major, BWV 825: I. Prelude (Arr. Reichenbach for Guitar) 02:16 Raphaël Feuillâtre J.S. Bach: Partita in B-Flat Major, BWV 825: II. Allemande (Arr. Reichenbach for Guitar) 03:50 Raphaël Feuillâtre J.S. Bach: Partita in B-Flat Major, BWV 825: III. Courante (Arr. Reichenbach for Guitar) 03:10 Raphaël Feuillâtre J.S. Bach: Partita in B-Flat Major, BWV 825: IV. Sarabande (Arr. Reichenbach for Guitar) 05:24 Raphaël Feuillâtre J.S. Bach: Partita in B-Flat Major, BWV 825: V. Menuet I (Arr. Reichenbach for Guitar) 01:42 Raphaël Feuillâtre J.S. Bach: Partita in B-Flat Major, BWV 825: VI. Menuet II (Arr. Reichenbach for Guitar) 01:34 Raphaël Feuillâtre J.S. Bach: Partita in B-Flat Major, BWV 825: VII. Gigue (Arr. Reichenbach for Guitar) 02:29 Raphaël Feuillâtre Forqueray: Suite No. 1 in D Minor: No. 4, La Bellmont (Arr. Antoine Fougeray and Feuillâtre for Guitar) 03:46 Raphaël Feuillâtre Duphly: Pièces de clavecin, Book 3: No. 4, La Forqueray (Arr. Antoine Fougeray for Guitar) 04:58 Raphaël Feuillâtre Duphly: Pièces de clavecin, Book 3: No. 6, Médée (Arr. Antoine Fougeray for Guitar) 04:38 Raphaël Feuillâtre J.S. Bach: Violin Partita No. 3 in E Major, BWV 1006: III. Gavotte en Rondeau (Transcr. for Guitar) 03:22Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Síguenos en: Twitter: https://twitter.com/ElScriptorium TikTok: https://www.tiktok.com/@elscriptorium?is_from_webapp=1&sender_device=pc Academia Play: https://academiaplay.es/user/martin+ramirez+puertas/?profiletab=posts Contacto: scriptoriumpodcast@protonmail.com Bibliografía: - Salazar Gómez, M. (2019). “Historia de la salvación en el reino latino de Jerusalén”. Universidad de los Andes. - Roman, A. (2020). “En pos de Jersulaén. Guerra y coexistencia durante las tres primeras cruzadas (1095-1195)”. Universitat Jaume I - Hamilton, B. (2000). The Leper King and His Heirs: Baldwin IV and the Crusader Kingdom of Jerusalem. Cambridge: Cambridge Universiry Press. - Phillips, J. (2020). "Balduino IV. El Rey Leproso". Desperta Ferro Ediciones. - Menéndez Engra, A. (2022). "Balduino IV el Leproso, rey de Jerusalén". Academia Play Música: - "Danza Inglesa Siglo XIII" - Artefactum - "Passacaglia in C minor, BWV 582" - Bach - "Cello Suite, BWV 1007" - Bach - "Partita para violín solo nº3, BWV 1006" - Bach - "Saltarello I Siglo XIV" - Artefactum Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Gepresenteerd door: Hans van den Boom Daniel Lozakovich (viool)  J.S. Bach - Partita voor viool solo nr. 2, BWV 1004  E. Ysaye - Sonate in G.gr.t. op.27 nr. 5  N. Milstein - Paganiniana

Je dagelijkse portie muzikale verwondering. Welkom in mijn wonderkamer, vol muziek, verhalen en voorwerpen. Een muzikale reis door eeuwen, windstreken en genres. ‘J.S. Bach, 4 oktober 1892' Over de oudste Bach-opname Meer zien? Klik hier  (https://www.nporadio4.nl/klassiek/podcasts/909eae71-0997-43ce-a365-20e6456d33fe/dit-hoor-je-deze-week-in-franks-klassieke-wonderkamer-week-40-3-t-m-7-oktober) J.S. Bach Partita voor viool nr.3, BWV.1006; Menuet 1 (Album: The Dawn of Recording; The Julius Block cylinders) Julius Konjoes (viool) J.S. Bach  Partita voor viool nr.3, BWV.1006; Menuet 1 Chritian Tetzlaff (viool) Franks Klassieke Wonderkamer is straks niet meer via de Bach van de Dag feed te beluisteren. Niks missen? Abonneer je dan op de podcast Franks Klassieke Wonderkamer. 

Altvioliste Esther Apitley over het verschil tussen viool en alviool en dan vooral over het verschil in karakter. 'Als je viool speelt word je een heel ander persoon dan wanneer je altviool speelt'.    muziekvoorbeelden: - Bach - Partita no. 2 voor viool solo: Sarabande, Esther Apituley, altviool  https://open.spotify.com/track/7e1JBUQvLwqf9X6yNbeWfo?si=89d73335954745fb - Bach - Partita no. 2 voor viool solo: Sarabande, Hilary Hahn, viool https://open.spotify.com/track/0rYhv9ti1rgjlRJaeXdzLw?si=eedd0b260be3402a - Mozart - Sinfonia Concertante, Anne-Sofie Mutter, viool en Yuri Bashmet, altviool https://open.spotify.com/track/0XHOl74BrJ6ApzvZwyRgxT?si=a0af96a12c874b8e Muziek podcast: Akim Moiseenkov Opname en montage: Bart Geeraedts, TXTproducties 24classics is een classical music discovery service. We maken podcasts, organiseren de serie 24chambers en andere concerten  en produceren films. Ook kleine vriend van 24classics worden? Dat kan hier: https://24classics.com/word-vriend/

Violinist Carolin Widmann covers 1000 years of repertoire in her latest album, L'Aurore, including works by Hildegard von Bingen, J.S. Bach, Ysaye, Enescu and George Benjamin. She speaks to online editor Davina Shum about what all these pieces have in common, including finding freedom within the form with such diversity of pieces. Carolin speaks about the importance of singing in achieving free, musical communication, and how the different ways composers use musical notation can achieve surprisingly similar results. Check out thestrad.com for the latest news and articles on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_   J.S. Bach: Partita no.2 in D minor BWV 1004 - Allemanda L'Aurore Carolin Widmann, violin ECM 2709 Photo credit: Lennard Rühle / ECM Records

*EVANGELHO DO COLETIVO GIRASSÓIS — ESPÍRITAS PELO BEM COMUM Sexta-feira, 07/01/2022* *“ESTUDO SEQUENCIADO DE O EVANGELHO SEGUNDO O ESPIRITISMO”* Introdução: *Item III: “Notícias Históricas”* Trilha sonora: *J. S. Bach - Partita em Dó menor*, BWV 997 - Evangelina Mascardi, Alaúde barrocco: *5. Double* ►Em todos os momentos destas leituras e destas reflexões, pedimos que vibremos, de todo o coração, pelos enfermos da alma e do corpo.◄

*EVANGELHO DO COLETIVO GIRASSÓIS — ESPÍRITAS PELO BEM COMUM — Sexta-feira, 17/12/2021* *“ESTUDO DO EVANGELHO ESPECIAL DE FIM DE ANO”* Cap. VI: *“O Cristo Consolador”* Item 6: *“Advento do Espírito de Verdade”* Trilha sonora: J. S. Bach - Partita em Dó menor BWV 997 - Evangelina Mascardi, Alaúde barrocco: 4. Giga ►Em todos os momentos destas leituras e destas reflexões, vibremos pelos enfermos da alma e do corpo◄

*EVANGELHO DO COLETIVO GIRASSÓIS — ESPÍRITAS PELO BEM COMUM* *Sexta-feira, 26/11/2021* _— No aniversário de desencarnação de *D. Juracy Domingos Lima*, minha mãe (desenc. há 16 anos), e *D. Maria Berenice Arrais Freitas*, mãe de nosso irmão Alex Arrais (desenc. há 1 ano)._ *ESTUDO SEQUENCIADO DE “O EVANGELHO SEGUNDO O ESPIRITISMO”* Cap. XXVIII: *Coletânea de Preces Espíritas* Itens 73 e 74: *Pelos Espíritos em Arrependimento* Trilha sonora: J. S. Bach - *Partita em Dó menor* BWV 997 - Evangelina Mascardi, Alaúde barrocco: _3. Sarabanda_ ►Em todos os momentos destas leituras e destas reflexões, vibremos pelos enfermos da alma e do corpo◄

List​ of​ sounds​:

List​ of​ sounds​:

*EVANGELHO DO COLETIVO GIRASSÓIS — ESPÍRITAS PELO BEM COMUM — Sexta-feira, 05/11/2021* _(Para meus aniversariantes Bianca Almeida e Fred Marroquim!)_ *ESTUDO SEQUENCIADO DE “O EVANGELHO SEGUNDO O ESPIRITISMO”* Cap. XXVIII: *“Coletânea de Preces Espíritas”* Itens 34 e 35: *“Num perigo iminente”* Mensagem de Apoio: *“Perigo iminente”* (Da obra “A Vida Escreve” — Trecho Psicografado por Waldo Vieira) Trilha sonora: J. S. Bach - *Partita em Dó menor* BWV 997 - Evangelina Mascardi, Alaúde barrocco: 2. Fuga ►Em todos os momentos destas leituras e destas reflexões, vibremos pelos enfermos da alma e do corpo◄

Playlist: Gunar Letzbor - H. Biber Mystery (Rosary) Passacaglia in G MinorJuliette Kang - J.S. Bach Partita for Violin No. 2 in D minor BWV. 1004: V. ChaconneFenella Humphreys - E. Ysaye Sonata for Solo Violin, Op. 27, No. 1. and 2. Obession - Preludio: poco vivace and Malinconia - poco lento

Auf dem Programm steht dieses Mal Partita d-Moll für Violine, BWV 1004 von Johann Sebastian Bach. Christine Lemke-Matwey, Andreas Göbel und Kai Luehrs-Kaiser hören Aufnahmen, ohne zu wissen, wen sie hören. Das müssen die drei selbst herausfinden. Moderiert von Christian Detig.

Charles I started his reign in just the way he'd go on with it, and in just the way his father James I/VI had ended his: by getting right up the noses of most of his subjects in Scotland as well as England, and falling apart big time with the Westminster Parliament. Having failed with one attempt at a marriage with a Catholic Princess from Spain, he just organised himself a different one, with a Catholic Princess from France - Spain's deadliest enemy but just as Papist. He got into disputes with Parliament and Protestants generally about anti-Protestant, or even pro-Catholic action, and with Parliament specifically about taxation, since he could never raise enough for his needs without their authorisation, which he resented. In this neat way, he set up all the pieces for the painful clashes he'd face over the following years. The illustration is a portrait of King Charles I, by Gerrit van Honthorst, oil on canvas, 1628 National Portrait Gallery, London, 4444 The music is Bach Partita #2c by J Bu. Both image and music are licensed under an Attribution-NonCommercial-No Derivatives (aka Music Sharing) 3.0 International License http://creativecommons.org/licenses/by-nc-nd/3.0/

18 Bach - Partita No. 2 In C Minor, BWV 826 by Ruach Breath of Life

This week’s Barre Talk guest is an internationally recognized stager and coach, Susan Jones. Susan is currently a Regisseur at American Ballet Theatre where she danced with the Company for eight successive seasons. She was appointed Regisseur in 1980. Next year will mark 50 years since Jones joined ABT! Jones has staged works for Orlando Ballet including Don Quixote and Sinatra Suite. Her ABT stagings include George Balanchine’s Symphonie Concertante, Agnes de Mille’s Fall River Legend, Twyla Tharp’s Push Comes to Shove, Bach Partita, The Brahms-Haydn Variations, and many others.

Camille De Rijck reçoit chaque semaine interprètes, critiques, compositeurs ou chefs d'orchestre pour une comparaison à l'aveugle de différentes versions d'une oeuvre-phare du répertoire. Un rendez-vous très suivi par les mélomanes, désireux de confronter leur opinion avec celles de professionnels passionnés. Production et présentation : Camille De Rijck (drc@rtbf.be)

What the headstones from the Devonshire Street Cemetery can tell us about life and death in 19th century Sydney. Music: J.S.Bach Partita in D minor for solo violin -Sergey Dolgunov, Mendelsshon-Barcarola op.19 n.6-Aufklarung, Sad Piano-DDmyzik, Suspence-Rally Wender, longtime-Reman. Provided by Jamendo.

Не придумали ничего лучше в предновогодней суете, как опробовать новомодную доктрину: отвечаем на вопросы слушателей. Супер-хаотичный выпуск с личными историями, размышлениями о судьбах кинематографа и глупыми шутками. В общем, все то, за что вы нас и любите (наверное). *** Музыка: интро - Glenn Gould - J.S.Bach Partita №2, финал - Björn Olsson - Tjörn. *** Отдельно - список полезных книг: Мария Кувшинова - Кино как визуальный код (рекомендация Оли) Юрий Лотман и Юрий Цивьян - Диалог с экраном (+ Лотман про семиотику кино) Сергей Эйзенштейн - Неравнодушная природа (both - рекомендации Кирилла) Простыня от Дениса: Я могу посоветовать что-то из академической литературы. К сожалению, многие важнейшие книги про кино не переведены на русский, но если подтянуть английский до уровня нормального чтения, то открывается доступ к по сути мировым знаниям. Базовый учебник по формальному анализу фильма — это книга Film Art Дэвида Бордуэлла и Кристин Томпсон (в самых свежих изданиях в соавторах появился Джефф Смит). В ней простым языком и на ярких примерах показано, как обращать внимание на жанр и нарратив, на особенности исторического и производственного контекста и на монтаж, особенности кадра и звук. Я искренне считаю, что важнейшим дополнением к формальному анализу служат социологические подходы к зрителям, производителям и распространителям кино и к механизмам образования вкуса. Базовой книгой здесь я назову «Различение» Пьера Бурдьё, фрагменты из которого переведены на русский (https://ecsoc.hse.ru/data/2011/12/08/1208204931/ecsoc_t6_n3.pdf ). В дополнение к этому полезно прочитать его же статьи «Поле литературы» (http://bourdieu.name/content/burde-pole-literatury ) и «Исторический генезис чистой эстетики» (http://magazines.russ.ru/nlo/2003/60/burd-pr.html ). Подход Бурдьё применяется, например, в анализе фильмов ужасов и культового кино Джеффри Сконсом (https://pulp-n-trash.blogspot.com/2015/06/trashing-academy.html ), Марком Дженковичем (на русский не переведен, так что см. оригинальные тексты: https://www.tandfonline.com/doi/abs/10.1080/09502380110107607 и https://www.tandfonline.com/doi/abs/10.1080/713657675 ) и Мэтом Хиллсом (http://www.logosjournal.ru/arch/77/101_2.pdf ). Общий пример социологического подхода к жанру ужасов (без углубления в Бурдьё) можно прочитать у Эндрю Тюдора (http://www.russ.ru/pole/Specificheskie-udovol-stviya-ot-populyarnogo-zhanra ). С пониманием одновременно социологических аспектов кино и его формальных деталей становится легче разбираться в новых тенденциях и отдельных примерах, а заодно и в том, как проходят споры между любителями и ненавистниками конкретных фильмов — хоть новой «Суспирии», хоть «Черной Пантеры». Отдельно важным направлением киноведения XXI века стала теория аффекта, выведенная из феноменологической философии. Ее основатель и классик — Стивен Шавиро, так что стоит обратить внимание на его книги The Cinematic Body и Post-Cinematic Affect. Одна из самых ярких представительниц теории аффекта — Лора Маркс, авторка книг The Skin of the Film и Touch. Не самые важные, но все же интересные фрагменты из текстов обоих есть и на русском: https://theoryandpractice.ru/posts/8165-accelerationist-aesthetics и http://cineticle.com/component/content/article/121-issue-24/1650-laura-marks-the-skin-of-the-film.html . Теоретики аффекта подчеркивают, как кино влияет на зрителей на самом базовом уровне, еще до того, как мы начали осмыслять его в категориях эмоций или, тем более, месседжей. Этот подход давно стал неотъемлемой частью англоязычного киноведения (какое-то время он и вовсе однозначно доминировал, но сейчас чаще совмещается с другими идеями) и помогает отвлечься от поиска интерпретаций фильма. Хороший пример для того, чтоб в общем виде понять теорию аффекта, — прошлогодний «Прочь». Если для многих критиков это фильм о либеральном расизме, то с точки зрения теоретика аффекта это фильм о том, каково быть черным в обществе, где распространен либеральный расизм. Почувствуйте разницу.

durée : 01:58:45 - Irina Stachinskaya ; Alexandre Kantorow, Amaury Viduvier, Shuichi Okada et Aurélien Pascal - par : Gaëlle Le Gallic - En direct et en public de 14 h à 16 h au Studio 106 de la Maison de la Radio Irina Stachinskaya, flûte Qiaochu Li , piano PROGRAMME Eugène Bozza : Agrestide op. 44 Jean-Sébastien Bach : Partita pour flûte seule en la mineur BWV 1013 (extraits) (flûte solo) Paul Taffanel : Fantaisie sur le Freischütz de Carl Maria von Weber ***** Alexandre Kantorow, piano Amaury Viduvier, clarinette Shuichi Okada, violon Aurélien Pascal, violoncelle PROGRAMME Johannes Brahms : Rapsodie en si mineur op. 79 n°1 Ludwig van Beethoven : Trio pour piano, clarinette et violoncelle en si bemol majeur op. 11 (extraits) Zoltan Kodaly : Duo pour violon et violoncelle op. 7 (extrait) Richard Strauss : Sonate pour violon et piano en mi bemol majeur op. 18 (extraits) Camille Saint-Saens / arrangement Iain Farrington : Danse macabre Goran Frost : Let's be happy - réalisé par : Jean-Pierre Collard

선곡표 1.Bruckner -교향곡 3번 중 3악장 Scherzo 2.Mahler -교향곡 5번 C샵단조 중 4악장 Adagietto 3.Beethoven -현악4중주 13번 중 5악장 ‘카바티나' 4.Schubert -즉흥곡 4번(Op.90-4) 5.Bach - Partita 파르티타 2번 In D Minor, BWV1004-V Ciaconna 6.Satie -3 Gymnopedies - 1. Lent Et Douloureux 7.Mendelssohn - Lied Ohne Worte, 무언가 Song without words No.1, Op.19-1 8.Haydn - Cello Concerto No. 1 in C Major, Hob. VIIb. 3. Allegro molto 9.Wagner -로엔그린' 중 3막 전주곡 10.루르드 ost Franz Schubert - Ave Maria D.839

Mit seinen Sonaten und Partiten für Violine solo trauerte Bach um seine verstorbene Frau Maria Barbara. Deswegen überwiegen in dem Zyklus die Moll-Tonarten. Bei der dritten und letzten Partita entscheidet sich Johann Sebastian Bach für ein helles strahlendes E-Dur. Ulrich Möller-Arnsberg hat mit dem Geiger Gil Shaham über das Stück gesprochen.

A version from tab by John Bullard from his Bach on the Banjo book and CD. I now have 104 measures out of 136 memorized. Hopefully will be able to play it all well some day. This version is not current, but representative of what I have done so far.

A version from tab by John Bullard from his Bach on the Banjo book and CD. I now have 104 measures out of 136 memorized. Hopefully will be able to play it all well some day. This version is not current, but representative of what I have done so far.

Bach: Partita for keyboard No. 5 in G Major, BWV 829Beethoven: Cello Sonata in G minor, Op. 5, No. 2Today, we’ll hear pieces by two great composers that reflect instrumental developments in their time. Bach was a dedicated keyboardist and composed for nearly every keyboard instrument. His Partita No. 5 in G Major was written specifically for a single-manual harpsichord; therefore, there are very few sustained notes. Instead, Bach uses intricate counterpoint and fugal relationships between the voices to create a densely textured and swirling set of dance movements. Beethoven, a gifted keyboard player himself, was also a pioneer in utilizing the cello as a solo instrument. In his Cello Sonata in G minor – one of the very first cello sonatas ever written – we hear the young composer beginning to realize the full potential of both instruments. He skillfully matches the sustained tones of the cello with rhythmic articulation and cascading notes in the piano. And in the final Rondo-Allegro, the piano and cello take turns carrying the lyrically playful melody and adding sparkling embellishment.

Bach: Partita for solo flute in A minor, BWV 1013 Schumann: Piano Trio No. 3 in G minor, Op. 110The first piece on today’s program is Bach’s Partita in A minor, made up of four movements that constitute a typical baroque dance suite. Because the work is for solo flute, with no accompanying instrument to provide the harmonic bass figures, Bach had to conjure meter, harmony and counterpoint in one solo melodic instrument. The result is a challenging piece, demanding frequent leaps between registers to create the effect of multiple voices in just one instrument. Robert Schumann idolized Bach. Throughout his life he collected and studied Bach’s works, especially the Well-Tempered Clavier, which greatly influenced his own keyboard compositions. Even within Schumann’s lush and romantic Piano Trio No. 3, the flowing lines and densely layered voices mask a carefully refined structure, a rigor of form and development that hints at Bach’s central role in Schumann’s musical world.

This is the second of two menuets found in Bach's Partita No. 1 in B-flat major (Opus 1). I've always enjoyed this brief section of the work and it includes some tricky finger work despite the deceitfully simple harmonies. Bach certainly had a way of emphasizing the subtle harmonies to invigorate the soul! Bach himself wrote the following on the title page of the first volume of the Clavierubung (which consists of the 6 partitas): Keyboard Training, consisting of Preludes, Allemandes, Courantes, Sarabandes, Gigues, Menuets and other Galanteries, dedicated to Music Lovers for the Pleasure of their Minds

This Sarabande is an excerpt from Bach's Partita No. 1 in B-flat. I have also recorded the Praeludium previously. I have always loved the serene melody that makes up this Sarabande. I play this piece much slower than is typical in a performance. However, I find it to be so exquisite and sonorous that I can't help but relish in every chord and beat. This is one of those works that I will often pull out at times when I want to reflect or meditate. It is perfect for moments when only music can express the joy and peace that life can and should supply.

All of Bach's partitas are wonderful. I actually studied the entire 1st partita (of which this recording is only a portion), but never committed the entire work to memory. One of these days I'll pick it back up again and finish recording the entire piece.