Podcasts about boismortier

durée : 00:25:09 - Musicopolis - par : Anne-Charlotte Rémond - Dans cet épisode de Musicopolis, Anne-Charlotte Rémond revient sur la vie et l'oeuvre du compositeur français Joseph Bodin de Boismortier (1689-1755). - réalisé par : Philippe Petit, Claire Lagarde

15th-20th CenturiesIn this episode we hear works by Walter Lambe, Costanzo Festa, Anthony Holborne, Alessandro Poglietti, Joseph Bodin de Boismortier, Nicolas Dalayrac, Jan Kalivoda, Charles Tournemire, and Sir Harrison Birtwistle.155 Minutes – Weeks of May 02 and 09, 2022

Donald Macleod steps into the French baroque with Desmarets and Boismortier Donald Macleod discovers the stories of two very colourful figures of the French baroque, Henri Desmarets and Joseph Bodin de Boismortier. Born a generation apart, Boismortier and Desmarets are perhaps lesser known figures of the French baroque, but together they provide a fascinating picture of life and music-making in the reigns of the Sun King and Louis XV after him. Boismortier’s success came from what seems to be a natural ability to keep his finger on the pulse: his music followed all the latest trends and styles. He made a small fortune supplying music to the amateur market. They were works that fall cleverly under the fingers, and he advanced his profits by publishing them for any number of different combinations of instruments. That’s not to say he didn’t dip his toe into deeper waters: he wrote cantatas, motets and stage works, of which the comic opera about Don Quixote is probably the best known. After a golden career in 1753 at the age of 63, Boismortier retired to enjoy life on a beautiful estate 45 minutes outside Paris. That kind of material comfort was not to be Henri Desmarets’s destiny. Born in 1661, he started out as a page at the Sun King’s court. What was shaping up to be a promising career fell off the tracks after he eloped with one of his pupils. Her furious father got an order for his arrest, arranged for him to be attacked in the street, and dragged him through the courts. The furore finally ended when the couple fled into exile. In his absence Desmarets was condemned to death. He eventually settled at the Court of Lorraine. There’s little doubt his fall from grace had a detrimental effect on his reputation. His operas and masses show him to be a talented and innovative composer. He was one of the very first composers known to have written for double choir and orchestra. Music Featured: Boismortier: Trio sonata in D, op 37 no 3 (I. Allegro) Desmarets: Mass for Two Choirs and Two Orchestras: Kyrie Desmarets: La Diane de Fontainebleau (excerpt) Boismortier: Flute sonata in B minor op 44/2 Desmarets: Te Deum (excerpt) Desmarets: La Diane de Fontainebleau – Marche Desmarets: La Diane de Fontainebleau (excerpt) Boismortier: Bassoon Concerto, Op 21 Boismortier: Les quatre saisons, Op. 5 (Cantata no 4: Hyver) Desmarets: De Profundis Desmarets: Didon (Act 5, Sc 1) A Nocte Temporis Desmarets: Théagène et Chariclée (Act 4, sc 1) Desmarets: Mass for 2 choirs and 2 orchestras (excerpt) Boismortier: Troisième suite de piéces de clavécin Boismortier: Les voyages de l’amour (Act 4, sc 2) Boismortier: Don Quichotte chez la Duchesse (First divertimento) Desmarets: Les amours de Momus (Lieux charmants) Desmarets: Usquequo Domino (Psalm XII) (excerpt) Desmarets: Vénus et Adonis (Act 3 Sc 3, excerpt) Desmarets: Vénus et Adonis (Act 5, sc 5 to 8, excerpt) Boismortier: : Exaudiat te Dominus (Psalm 19) Boismortier: Daphnis et Chloé (Act 3, excerpt) Boismortier: Daphnis et Chloé (Act 2, Sc 3, excerpt) Desmarets: Domine ne furore Boismortier: Concerto for 5 flutes in A minor, Op 15/2 Desmarets: Circé: Sommeil - Ah! Que le sommeil est charmant Presented by Donald Macleod Produced by Johannah Smith for BBC Wales For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Desmarets and Boismortier https://www.bbc.co.uk/programmes/m000nvbl And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

durée : 01:57:42 - Le pianiste Michele Campanella enregistre pour la première fois "Les Années de Pèlerinage" de Franz Liszt - par : Emilie Munera, Rodolphe Bruneau Boulmier - Isabelle Faust, Alexandre Melnikov et Jean-Guihen Queyras livrent leur intégrale des sonates de Beethoven ; György Vashegyi et son orchestre Orfeo offrent un enregistrement des Voyages de l'Amour de Boismortier, un opéra-ballet de 1736 ; les symphonies de Schumann par la Cappella Aquileia... - réalisé par : Gilles Blanchard

For our fourth instalment, Richard Skelton and Phantom Limb Publishing are bringing us a psychogeographical mix. British musician and sound artist Richard Skelton has been exploring the natural world, its cycles of life and decay and our relationship with landscape and human-constructed spaces with experimental atmospheres. Skelton has just published his latest album, Border Ballads (Corble Stone Press). After spending the last two years living in the rural northern edge of the Scotland-England border, a boundary demarcated by various watercourses, this hinterland topography has informed a series of musical recordings, twelve miniatures fragments of a larger whole, such is their unity in tone and timbre. For this mix Skelton shares that this mix is loosely constructed around absences, vacancies, and dereliction. The image of a deserted church, now falling into disrepair, located deep in the north Cumbrian interior: I pass by the building on a regular basis as I traverse the labyrinthine back roads between Scotland and England. Fittingly, therefore, all the music in this mix is sourced from vinyl — the ever-present sound of cracks and pops attesting to a kind of degraded materiality. Perhaps predictably, the first recording that came to mind was Nico’s ‘No One Is There’ — a favourite song with a haunting melody, and my selection moved out from there, looking for records that had similar resonances, regardless of their provenance or genre. I was therefore interested to discover overlaps between the Baroque inflections of Boismortier’s ‘Concerto for 5 Tenor Recorders’ and the synthetic swells of Vainqueur’s ‘Elevation’, or the howling sonorities of Gareth Davis’ clarinet and Jandek’s cracked harmonica. The whole mix is held together by the rich field recordings of Joshua Bonnetta’s ‘What Lies in It’, which itself is a document of a Californian ghost resort, Salton Sea. In turn, various segues are made with Alan Lomax’s recordings of human voices, many of which crackle and blur with their own disintegrating physicality. These are various documents of (primarily North American) languages and dialects: Blood (00:50, Stoney (07:50, Beaver (17:48, English (25:45 & 36:00, Achumawi (48:45)and Nenet (54:05). Given this proliferation of languages, in the end, Nico herself has gone — vanishing through the cracks in her own song to leave only its refrain, looping eternally. Tracklist: 00:00 Joshua Bonnetta — What Lies in It (Shelter Press) 01:05 Tirath Singh Nirmala & Richard Youngs — A2 (Untitled) (HP Cycle) 05:40 Stephen Vitiello — Shake (Farpoint Recordings) 19:05 Baby Ford — New York (Rhythm King) 19:37 Gareth Davis & Steven R Smith — Westering (Important) 23:46 Jandek — Harmonica (Corwood Industries) 29:06 Félicia Atkinson — The Owls (Umor Rex) 36:35 Nico — No One Is There (Refrain) (WEA) 39:00 Musica Dolce — Concerto for 5 Tenor Recorders in D Minor (Adagio) (Grammofonfirma BIS) 40:30 Vainqueur — Elevation (Version 3) (Chain Reaction) 50:10 Jessika Kenney & Eyvind Kang — Orcus Pellicano (Editions Mego) 55:00 Joshua Bonnetta — What Lies in It (Shelter Press)

In this podcast: 1. Vito Paternoster, 2. Daniel Estrem, 3. Ernst Stolz, 4. Musica Franca, 5. Janine Johnson, 6. James Edwards, 7. Ireen Thomas, 8. Galliarda, 9. Janine Johnson, 10. Colin Booth, 11. Daniel Estrem, 12. Galliarda, 13. Chris Britton, 14. Commusicare, 15. Vito Paternoster, 16. Daniel Estrem, 17. Poeticall Musicke

- hoflig og landlig musik fra barokkens Frankrig af bl.a. Charpentier, Lully, Robert de Visee, Couperin, Boismortier, Marais, Aubert, Leclair, Corrette og Rameau. Concerto Copenhagen. Poul Høxbro, tambourin og galoubet. Dirigent: Lars Ulrik Mortensen. (Sct. Mortens Kirke, Næstved 5. oktober). Vært: Max Fage-Pedersen.

Élete és pár műve egy órában.

Selected Duets for Trumpet, Page 44 Number 10, Gigue, performed by David Summer. This second duet in the series of duets by Boismortier is another Gigue and again it's in 6/8 time at a fast tempo, played "in 2". The student may be challenged by the tied over dotted quarter notes in the last part of the piece. Once more, the student has to be able to hear continuous eighth notes in order to place all the eighths correctly. In this case, that's helped by the fact that the second trumpet part is playing eighths under the first trumpet dotted quarter notes. There are also several "question and answer" sections, as we've seen in previous duets. The duet is in the key of G with a brief foray in a minor in the middle and g minor at the end. The metronome setting for this performance is dotted quarter note = 88.

Selected Duets for Trumpet, Page 43 Number 9, Allegretto, performed by David Summer. Joseph Bodin de Boismortier was a French composer active in the first half of the 1700s. Boismortier was one of the first composers to make an income from publishing his compositions rather than writing for a patron. Up until that time, financially successful composers wrote compositions, often on demand, for wealthy patrons. These patrons were usually royalty. Boismortier was the first French composer to use the Italian concerto form, in his six concertos for five flutes op. 15. For this performance, only the first repeat is taken and the metronome setting is eigth note = 112.

Selected Duets for Flute, Page 31 Number 9, performed by David Summer. These 2 minuets have the same key relationship as the two duets on page 28, the first one is in the key of C and the second in c minor. (Although, again the key signature of the second duet doesn't accurately portray the key of c minor). They are also a bit more fluid in style than the previous pairs. With these two minuets, we come to the end of the section of the book devoted to the duets of Boismortier. As previously mentioned this composer was very prolific and wrote pieces that were commercial for his time. He wrote several flute sonatas and one of his most interesting works is "Six Concertos for Five Flutes". A recording of these concertos and more of his compositions for flute can be found on Amazon.com. There are no repeats taken in this performance, but again the DC to the first minuet is taken, and the metronome setting is quarter note = 120.

Selected Duets for Flute, Page 30 Number 8, performed by David Summer. Like the previous duets entitled "Menuet" this is a spelling variation on the word "Minuet". These two minuets are both in the key of C, the second one does not change key to the parallel minor, as the previous pair of minuets did. The prolific Boismortier, the composer of all the duets in this section of the Selected Duets book, wrote often for the flute. He even wrote a flute method book that unfortunately is now lost. There are no repeats taken in this performance, but again the DC to the first minuet is taken, and the metronome setting is quarter note = 120.

Selected Duets for Flute, Page 26 Number 2, performed by David Summer. This duet continues the group of duets by the composer Boismortier. Again, the flute one part states a short melodic theme alone at the beginning of the piece, followed by the second flute part beginning with the same short theme, now harmonized by the first flute. The metronome setting for this performance is dotted quarter note = 80.

Selected Duets for Flute, Page 26 Number 1, performed by David Summer. A musical prelude usually serves as an introduction to a longer piece or some other event. This duet, like many of the duets in this section of the book, has the flute one part state a short melodic theme alone at the beginning of the piece. Then, when the second flute part begins, it begins with the same short theme, now harmonized by the first flute. The composer of the duets in this part of the book, Joseph Bodin de Boismortier, was a French baroque composer of instrumental music. He was one of the first composers to be able to make a living writing music without having a patron. The repeat of the second section is omitted here and metronome setting for this performance is quarter note = 69.