Plucked-string keyboard instrument
POPULARITY
6 episodes with clavecin
4 episodes with clavecin
5 episodes with clavecin
2 episodes with clavecin
2 episodes with clavecin
2 episodes with clavecin
2 episodes with clavecin
2 episodes with clavecin
2 episodes with clavecin
durée : 00:10:40 - Le Disque classique du jour du mercredi 14 mai 2025 - Yoann Moulin achève ici ce périple dans le répertoire de la musique de clavecin allemand du XVIIe siècle. Nous voici aux portes de l'art de Johann Sebastian Bach avec les compositeurs qui ont été ses modèles directs et qui lui ont transmis les principes des styles italiens et français.
durée : 00:10:40 - Le Disque classique du jour du mercredi 14 mai 2025 - Yoann Moulin achève ici ce périple dans le répertoire de la musique de clavecin allemand du XVIIe siècle. Nous voici aux portes de l'art de Johann Sebastian Bach avec les compositeurs qui ont été ses modèles directs et qui lui ont transmis les principes des styles italiens et français.
durée : 00:37:58 - Les Midis de Culture - par : Marie Sorbier - Fondateur de l'ensemble Les Talens Lyriques et claveciniste internationalement reconnu, Christophe Rousset et son ensemble ressuscitent l'œuvre d'Antonio Salieri, "Cublai, gran kan de' Tartari". - réalisation : Laurence Malonda - invités : Christophe Rousset Claveciniste et chef d'orchestre français (né à Aix-en-Provence en 1961)
durée : 00:28:58 - Justin Taylor, claveciniste - C'est au piano que le claveciniste Justin Taylor, 32 ans, dévoile une nouvelle facette de son talent dans un disque intimiste. Installé derrière un pianino d'époque (1839), le jeune prodige du baroque revisite Chopin, ses Préludes et ses Nocturnes. Portrait d'un claviériste aux multiples registres.
En ce mois de novembre, le clavecin Ruckers est au coeur de la programmation du musée Unterlinden. Que ce soit lors de visites sensibles, ou lors des ateliers pour la jeunesse, tout va tourner autour de cet instrument qui fête ses 400 ans. Suéva Lenôtre, responsable du service des publics en dit plus sur le programme.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.
Joube Puddles Pity Party The dark side of depression Covers : Take Five au clavecin Take Five en scat Maytree : Psycho a capella The Bygones : The boxer Kakous : Radio Nube : Killing on the name of Skull Lads : Tornado of souls Sherryl Porter singing tribe : We will rock you My heart will go on Fernando Leiva : Baby Band Sons zarbi : La porte de Gershwin Big Merla : Down with the sleepless GlasBlasSing The Kiffness : cat song Loop box : Ossama Harchane : Talking to the moon - Grace Kelly/Three little birds Kawehi : Explaining looping Trucs en vrac : Vieze Jack : Nog vier nachten tot Carnaval ! Colin Beasley : Mario Bros 3 World 1 Mamiko Yoko French Fuse : Ian McKellen La +BCdM : The Chordettes : Mr Sandman par Vaughn Monroe - The Four Aces - Chet Atkins - Roger Williams - The Supremes - The Puppini Sisters - Flash Mob Jazz - Nekfeu & Alpha Wan - PomplamooseThe Chordettes : Lollipop La Playlist de la +BCdM : sur le Tube à Walter sur Spotify (merci John Cytron) sur Deezer (merci MaO de Paris) sur Amazon Music (merci Hellxions) et sur Apple Music (merci Yawourt) Vote pour la Plus Belle Chanson du Monde Le son mystère (38'13) : 12 chefs d'orchestres en répétition Avec : Bibounette Grincheux Aude Causmic Beast Fanny Quenton Merci à : Mogore Pop goes the WZA Sephiraph Stéphane Didier Je déteste les podcasts Starlette Podcasts & liens cités : C tout comme Passion Médiévistes Techcraft PodParis Studio TJP Walter sur Mastodon Walter sur BlueSky Les 100 +BCdM Le générique de fin est signé Cousbou
durée : 00:12:37 - Le Disque classique du jour du jeudi 20 juin 2024 - Dans ce nouvel enregistrement, les complices Loris Barrucand et Clément Geoffroy proposent de nouvelles transcriptions pour deux clavecins de concertos de Bach et Vivaldi, renouvelant ainsi le regard sur cette musique savante et flamboyante
durée : 00:16:57 - Disques de légende du jeudi 13 juin 2024 - Le Château d'Assas un lieu mythique pour tous les amateurs de clavecin
Cello Suite No. 1 In G Major, BWV 1007 I Prelude Clavecin Edit by Jean Motell
durée : 00:05:22 - 123. L'intégrale du clavecin de Bach par Zuzana Ružicková (1965-1974) -
durée : 01:27:55 - En pistes ! du jeudi 25 avril 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme ce matin : La Damnation de Faust de Berlioz, les sonates pour clavier de Scarlatti, l'œuvre pour violoncelle et orchestre de Bruch "Kol Nidre", le Quatuor avec piano op.28 de la compositrice allemande Luise Adolpha Le Beau, et les Pièces de Clavecin de Couperin. En pistes !
Les festivités des 170 ans à peine clôturer, le musée Unterlinden célèbre déjà un nouvel anniversaire. Cette fois-ci, c'est une pièce de la collection du musée qui souffle ses bougies, le très célèbre Clavecin Ruckers. Un programme riche attend les visiteurs du musée, à commencer avec un Happy Family ce dimanche 07 avril 2024. Le public pourra profiter des Fables de La Fontaine, en musique.Raphaël Mariani, conservateur au Musée Unterlinden, apporte des précisions sur l'instruments et les évènements à venir,
durée : 00:05:20 - 115. Keith Jarrett enregistre les Goldberg au clavecin (1989) -
durée : 00:13:29 - Le Disque classique du jour du lundi 04 mars 2024 - Les Sonates en pièces de clavecin d'Armand-Louis Couperin marquent un renouveau du style français de l'époque. La violoniste Liana Mosca et le claveciniste Pierre Goy mettent en lumière son œuvre dans ce nouveau disque
- Wszystko zaczęło się w 2007 roku od "Nimf", szczególnego i zarazem pięknego utworu. Stąd też ponownie zaprosiliśmy panią Weronikę Ratusińską i na tym dwupłytowym albumie pojawia się również jej nowa kompozycja pt. "Reflections" - mówili w Dwójce Alina Ratkowska i Paweł Gusnar o nagranej wspólnie płycie pt. "Le Clavecin Moderne plus Saxophone".
durée : 00:09:10 - Purcell & Friends: Récital de clavecin - Jean-Luc Ho - Jean-Luc Ho nous offre, dans son dernier disque, un enregistrement des œuvres du compositeur Henry Purcell, ses transcriptions et des pièces anonymes de son époque
Dediquem bona part del programa a un instrument de teclat, a mig cam
Il Barocco francese - Élisabeth Jacquet de la Guerre (1666-1729)Suite No.6 in sol maggiore per clavicembalo I. AllemandeII. Courante III. Sarabande IV. Gigue V. Menuet VI. Rondeau Elisabetta Guglielmin, clavicembalo*********[13:00]Violino Sonata No. 1 in Re minor - per violino, viola da gamba tiorba e clavicembaloI. AdagioII. PrestoIII. AdagioIV. Presto.AdagioV. PrestoVI. AriaVII. PrestoRebecca Nelson - violin baroccoSydney ZumMallen - viola da gambaJoshua Stauffer - théorbeDavid Belkovksi - clavicembalo Pièces de Clavecin (before 1707) Suite No.1 in D minor: I. Prelude [00:00:00]Suite No.1 in D minor: II. Allemande [00:02:48]Suite No.1 in D minor: III. Courante [00:06:00]Suite No.1 in D minor: IV. (2e) Courante [00:08:17]Suite No.1 in D minor: V. Sarabande [00:09:32]Suite No.1 in D minor: VI. Gigue [00:12:04]Suite No.1 in D minor: VII. Cannaris [00:14:09]Suite No.1 in D minor: VIII. Chaconne. L'Incostante [00:16:21]Suite No.1 in D minor: IX. Menuet [00:19:24] Suite No.2 in G minor: I. Prelude [00:20:41]Suite No.2 in G minor: II. Allemande [00:22:50]Suite No.2 in G minor: III. Courante [00:25:31]Suite No.2 in G minor: IV. 2e Courante [00:27:18]Suite No.2 in G minor: V. Sarabande [00:29:05]Suite No.2 in G minor: VI. Gigue [00:31:17]Suite No.2 in G minor: VII. (2e) Gigue [00:33:07]Suite No.2 in G minor: VIII. Menuet [00:35:12]Suite No.2 in G minor: IX. Double [00:36:11] Suite No.3 in A minor: I. Prelude [00:37:10]Suite No.3 in A minor: II. Allemande [00:39:12]Suite No.3 in A minor: III. Courante [00:42:10]Suite No.3 in A minor: IV. (2e) Courante [00:44:00]Suite No.3 in A minor: V. Sarabande [00:45:51]Suite No.3 in A minor: VI. Gigue [00:47:57]Suite No.3 in A minor: VII. Chaconne [00:49:50]Suite No.3 in A minor: VIII. Gavotte [00:52:55]Suite No.3 in A minor: IX. Menuet [00:54:29] Suite No.4 in F major: I. Tocade [00:56:00]Suite No.4 in F major: II. Allemande [00:59:13]Suite No.4 in F major: III. Courante [01:02:16]Suite No.4 in F major: IV. (2e) Courante [01:03:51]Suite No.4 in F major: V. Sarabande [01:05:33]Suite No.4 in F major: VI. Gigue [01:07:57]Suite No.4 in F major: VII. Cannaris [01:10:00]Suite No.4 in F major: VIII. Menuet [01:12:05] Suite No.5 in D minor : I. La Flamande & II. Double [01:13:32]Suite No.5 in D minor : II. Courante & IV. Double [01:18:22]Suite No.5 in D minor : V. Sarabande [01:20:40]Suite No.5 in D minor : VI. Gigue [01:23:47]Suite No.5 in D minor : VII. Double [01:27:14]Suite No.5 in D minor : VIII. 2e Gigue [01:31:07]Suite No.5 in D minor : IX. Rigaudons I & II [01:34:27]Suite No.5 in D minor : X. Chaconne [01:37:38] Suite No.6 in G major : I. Allemande [01:43:02]Suite No.6 in G major : II. Courante [01:46:02]Suite No.6 in G major : III. Sarabande [01:47:33]Suite No.6 in G major : IV. Gigue [01:50:22]Suite No.6 in G major : V. Menuet [01:52:46]Suite No.6 in G major : VI. Rondeau [01:54:01]Elisabetta Guglielmin, clavicembalo
Welkom terug bij een nieuwe aflevering van Kalm met Klassiek, dé podcastserie voor je dagelijkse momentje rust. Het thema van deze week is “Snaren”. Vorig jaar bracht pianist Daria van den Bercken haar album “Human: Nature” uit met muziek geïnspireerd op het romantische idee van de natuur. Je hoort muziek die de natuur uitbeeldt, herinneringen aan de natuur oproept, de natuur als metafoor gebruikt én muziek die is gebaseerd op gedichten over onze relatie met de natuur.
durée : 00:20:33 - Disques de légende du mardi 06 juin 2023 - Carl Philipp Emanuel Bach dirigé par la chef et violoniste Petra Müllejans avec l'Orchestre Baroque de Fribourg et le claveciniste Andrés Staier.
Welkom terug bij een nieuwe aflevering van Kalm met Klassiek, dé podcastserie voor je dagelijkse momentje rust. Vandaag laat Ab je muziek horen gespeeld door de Franse harpiste en musicoloog Constance Luzzati. Op haar nieuwe album 'Enharmonique' speelt zij stukken die Jean-Philippe Rameau oorspronkelijk voor klavecimbel schreef. Misschien ken je die klavecimbelmuziek wel, die veelal op piano wordt uitgevoerd. Maar… Je vindt inmiddels ook uitvoeringen van gitaar, marimba, accordeon en dus ook van harp. Luister je mee?
※金井のPC設定ミスにより、竹森の声だけが非常に神秘的な響きになっております。聞きづらくなってしまったこと、ご容赦ください。申し訳ありません。 Today's List■ Francois Couperin: Pieces de Clavecin - 3eme Ordre "L'Espagnolette"/15eme Ordre "La Douce et Piquante"/ 2eme Ordre "Canaries", "Double des Canaries"/ 13eme Ordre "Les Rozeaux"/ 14eme Ordre "Le Roissignol en amour", "Double du Roissignol" -- フランソワ・クープラン: クラヴサン曲集 より 第3オルドル "スペインの娘"/ 第15オルドル "温和と辛辣"/ 第2オルドル " カナリ"、"カナリのドゥーブル" / 第13オルドル"葦"/ 第14オルドル"恋のうぐいす"、 "うぐいすのドゥーブル" クープランの家は、代々サン・ジェルヴェ教会のオルガニストを務めていました。この教会はパリのマレ地区にあります。そして若くして仕えた太陽王、ルイ14世はあのヴェルサイユ宮殿を建てました。クープランがいかにフランスの中心地で生活していたのかがよくわかりますね。非常にニヒルな感性、人や生活の裏側を暴くような攻撃性を備えながらも、その音楽からはずっとある種の余裕を感じ続けさせられる、というのはこうした独特の絢爛と長閑が同居していた時代背景からくるものではないでしょうか。 第21オルドルには、自身の名を冠した"クープラン"という曲があります。自画像のようなこの曲はけして底抜けに「明るく」はありません。彼が何を思ってこの時代を生きていたのか、もしかしたら音楽ともども糖衣していたのか、誰にもわかりません。
Today's List■ Francois Couperin: Pieces de Clavecin - 11eme Ordre Les fastes de la grande et ancienne Menestrandise 3e Act " Les Joungleurs, Sateurs et Saltimbanques"/ 18eme Ordre "Soer Monique"（Rondeau）/ 5eme Ordre "La Bandoline" （Rondeau）/ Concerts Royaux - 4eme Concert "Folrane" -- フランソワ・クープラン: クラヴサン曲集より 第11オルドル 偉大にして古き吟遊詩人組合の年代記 第3幕 "熊と猿を連れた曲芸師、軽業師と道化" /第18オルドル "修道女モニク" / 第5オルドル "バンドリン" / 王宮のコンセール 第4コンセール "フォルラーヌ" バロック音楽というと、規則正しい音楽、というイメージがついて回るかもしれませんが、「当時は不可能なことが多かった」だけで、実はけっこう自由度が高いものです。 イマジネーション豊かなクープランも、色んな実験的な試みをしています。「王宮のコンセール」には続編「趣味の融合、あるいは新しいコンセール」という曲集があり、当時新しかったであろう、イタリア様式とフランス様式の融合を掲げています。 対照的に風刺の意味合いが強かったと言われる非常に世俗っぽい「偉大にして古き吟遊詩人組合の年代記」は、全幕本当に面白いタイトルがついていますので、ご紹介しておきましょう。 第１幕 吟遊詩人組合の名士と組合員 第２幕 ヴィエル弾きと乞食 第３幕 熊と猿を連れた曲芸師、軽業師と道化 第４幕 傷痍軍人 または吟遊詩人組合に仕えるかたわ 第５幕 酔っ払い、猿や熊がひきおこした混乱と潰走 なんだかわくわくしてきませんか？来週もこんなクープランのアイデアがいっぱいです。お楽しみに！
Il Barocco francese - Élisabeth Jacquet de la Guerre (1666-1729) Suite No.6 in sol maggiore per clavicembalo I. AllemandeII. Courante III. Sarabande IV. Gigue V. Menuet VI. Rondeau Elisabetta Guglielmin, clavicembalo *********[13:00]Violino Sonata No. 1 in Re minor - per violino, viola da gamba tiorba e clavicembaloI. AdagioII. PrestoIII. AdagioIV. Presto.AdagioV. PrestoVI. AriaVII. Presto Rebecca Nelson - violin baroccoSydney ZumMallen - viola da gambaJoshua Stauffer - théorbeDavid Belkovksi - clavicembalo Pièces de Clavecin (before 1707) Suite No.1 in D minor: I. Prelude [00:00:00]Suite No.1 in D minor: II. Allemande [00:02:48]Suite No.1 in D minor: III. Courante [00:06:00]Suite No.1 in D minor: IV. (2e) Courante [00:08:17]Suite No.1 in D minor: V. Sarabande [00:09:32]Suite No.1 in D minor: VI. Gigue [00:12:04]Suite No.1 in D minor: VII. Cannaris [00:14:09]Suite No.1 in D minor: VIII. Chaconne. L'Incostante [00:16:21]Suite No.1 in D minor: IX. Menuet [00:19:24] Suite No.2 in G minor: I. Prelude [00:20:41]Suite No.2 in G minor: II. Allemande [00:22:50]Suite No.2 in G minor: III. Courante [00:25:31]Suite No.2 in G minor: IV. 2e Courante [00:27:18]Suite No.2 in G minor: V. Sarabande [00:29:05]Suite No.2 in G minor: VI. Gigue [00:31:17]Suite No.2 in G minor: VII. (2e) Gigue [00:33:07]Suite No.2 in G minor: VIII. Menuet [00:35:12]Suite No.2 in G minor: IX. Double [00:36:11] Suite No.3 in A minor: I. Prelude [00:37:10]Suite No.3 in A minor: II. Allemande [00:39:12]Suite No.3 in A minor: III. Courante [00:42:10]Suite No.3 in A minor: IV. (2e) Courante [00:44:00]Suite No.3 in A minor: V. Sarabande [00:45:51]Suite No.3 in A minor: VI. Gigue [00:47:57]Suite No.3 in A minor: VII. Chaconne [00:49:50]Suite No.3 in A minor: VIII. Gavotte [00:52:55]Suite No.3 in A minor: IX. Menuet [00:54:29] Suite No.4 in F major: I. Tocade [00:56:00]Suite No.4 in F major: II. Allemande [00:59:13]Suite No.4 in F major: III. Courante [01:02:16]Suite No.4 in F major: IV. (2e) Courante [01:03:51]Suite No.4 in F major: V. Sarabande [01:05:33]Suite No.4 in F major: VI. Gigue [01:07:57]Suite No.4 in F major: VII. Cannaris [01:10:00]Suite No.4 in F major: VIII. Menuet [01:12:05] Suite No.5 in D minor : I. La Flamande & II. Double [01:13:32]Suite No.5 in D minor : II. Courante & IV. Double [01:18:22]Suite No.5 in D minor : V. Sarabande [01:20:40]Suite No.5 in D minor : VI. Gigue [01:23:47]Suite No.5 in D minor : VII. Double [01:27:14]Suite No.5 in D minor : VIII. 2e Gigue [01:31:07]Suite No.5 in D minor : IX. Rigaudons I & II [01:34:27]Suite No.5 in D minor : X. Chaconne [01:37:38] Suite No.6 in G major : I. Allemande [01:43:02]Suite No.6 in G major : II. Courante [01:46:02]Suite No.6 in G major : III. Sarabande [01:47:33]Suite No.6 in G major : IV. Gigue [01:50:22]Suite No.6 in G major : V. Menuet [01:52:46]Suite No.6 in G major : VI. Rondeau [01:54:01] Elisabetta Guglielmin, clavicembalo
We've made it to the end of 2022, which means it's time to talk music. In this 4+ hour podcast, we dive into the games that moved us aurally in 2022, taking moments to remember some less discussed gems and complicated emotions. And, you know. There are some decent tunes in there too. We'd like to thank you all for joining us this year, and wish you all happy holidays, and a fantastic 2023. Nobody Saves the World (Jim Guthrie) Grand Castle Questing in Dark Places Infernax (Jason Létourneau, Jules 'FamilyJules' Conroy and Olivier Couillard) Know Your Place The Explorer A good day to be alive Horizon Forbidden West (Joris de Man, Niels van de Leest, Oleksa Lozowchuk) The Flight Whatever Comes The World on Her Shoulders Mother of All Elden Ring (Tsukasa Saito) Main Theme Starscourge Radahn Rennala, Queen of the Full Moon Margit, the Fell Omen Regal Ancestor Spirit Ghostwire Tokyo (Masatoshi Yanagi) Yaseotoko I Toryanse Tunic (Lifeformed and Janice Kwan) To Far Shores The Weight of Rain Weird West (Weird Wolves) Assassins Don't Kill Olvidado ANNO Mutationem (Haloweakm) Absalom Skoppo Dorfromantik (Pygoscelis) Orselina Rogue Legacy 2 (A Shell in the Pit and Tettix) Citadel Agartha Void Beast Byarrith Citizen Sleeper (Amos Roddy) Density Matsutake Card Shark (Andrea Boccadoro) Prelude J.P. Rameau: Pièces de Clavecin en Concerts No.3, I. La Lapoplinière Neon White (Machine Girl) Cloud Nine Glass Ocean Teenage Mutant Ninja Turtles: Shredder's Revenge (Tee Lopes) A Few Screws Loose Technodrome Remix Cult of the Lamb (River Boy) Start a Cult Sacrifice Corekeeper (Jonathan Geer) Echo of the Past (Main Menu) Forlorn Metropolis - City Sub-biome Tinykin (Alexis Laugier) City of Sanctar The Tardigrades Hardspace: Shipbreaker (Jono Grant, Traz Damji, Philip J Bennett, Ben McCullough) Labor of Love (Jono Grant) Red Sunset (Jono Grant) Crow's Feet (Jono Grant) Metal Hellsinger (Two Feathers) Stygia feat. Alissa White-Gluz from Arch Enemy Infernal Invocation II: Defiance feat. Mikael Stanne from Dark Tranquillity This Devastation feat. Matthew Heafy from Trivium Burial at Night ft. Tatiana Shmayluk from Jinjer Shovel Knight: Dig (Jake Kaufman) Overground A Plague Tale Requiem (Olivier Deriviere) Main Theme No Turning Back Vampire Survivors (Daniele Zandara, Filippo Vicarelli, Will Davies) Copper Green When the Clouds Drown Legacy of the Moonspell Signalis (Cicada Sirens & 1000 Eyes) Double Back Incinerator Cultic (Jason Smith) Main Theme Unstoppable Bayonetta 3 (Naofumi Harada, Tomoki Kameyama, Hyun Kim, Seiji Hotta, Hitomi Kurokawa, Takashi Nakabeppu, Takumi Higuchi, Aoba Nakanishi, Masahiro Miyauchi, Rei Kondoh, Masahiro Aoki, Takahiro Izutani, Ryo Furukawa, Yoshitaka Suzuki, Hibiki Yamazaki, Shu Kanematsu) Dark Eve Gh()st Pentiment (Alkemie Early Music Ensemble) Rudeger's Rehearsal Sister Amelie's Second Vision Midnight Suns (Tim Wynn, Phill Boucher) Origins (Tim Wynn) The Prophecy of the Midnight Sun (Phil Boucher) Hello Cleveland (Tim Wynn) What Could Kill a God? (Phil Boucher) Warhammer 40k: Darktide (Jesper Kyd) Imperial Advance Immortal Imperium Data Interference God of War Ragnarok (Bear McCreary) A son's theme Giantess of Ironwood Huldra Brothers Remembering Faye Blood Upon the Snow (feat. Hozier)
早期巴洛克作曲家库普兰是键盘乐艺术最早的大师之一，他的《羽管键琴曲集》对巴赫和法国作曲家们影响深远。他的作品里有典型的洛可可风味，德彪西说他是“法国音乐气质最纯粹和最典型的表现”。本期就来聊聊“高贵典雅的”“温柔的”“华丽的”“有教养的”大库普兰。包含曲目：0:26- Pieces de Clavecin, 1er Livre,1713-Troisieme OrdreIII3:35- Scott Ross - Pieces de clavecin, 1er Livre, 4eme Ordre - Les Bacchanales -- Enjouements7:20- L'Art de toucher le Clavecin -1717-Second Ordre8:24- Pieces de Clavecin, 1er Livre,1713-Second OrdreIIII
Clavecin, piano ou orgue, tous les claviers sont à l'affiche de l'Auditorium-Orchestre national de Lyon ce mois-ci, des concertos brandebourgeois de Bach interprétés par l'ensemble baroque du Café Zimmermann avec la claveciniste Céline Frisch, jusqu'au troisième concerto pour piano de Prokoviev en concert gratuit pour les étudiants, avec un grand pianiste aux commandes, le britannique Benjamin Grosvenor. Sans oublier le concours pour orgue du Festival Messiaen dont les épreuves publiques sont ouvertes à tous, sur le clavier du magnifique Cavaillé-Coll aux 52 jeux de l'AO, instrument unique en Europe.
Découvrez l'œuvre de Couperin le Grand, compositeur de Louis XIV mais aussi le coup de cœur de Pauline Lambert. Écoutez autrement le clavecin, cet instrument fascinant et chantant grâce à Christophe Rousset… Vous entendrez aussi comment, du clavecin, on devient chef d'orchestre. Références musicales : Couperin François, Suite en sol mineur, Sarabande, Christophe Rousset Balbastre, “La Lugeac”, Christophe Rousset Couperin François, “Les Idées heureuses”, 1er livre de pièces de clavecin, 2e ordre, Christophe Rousset Couperin François, “Les Barricades mystérieuses”, 2e livre de pièces de clavecin, 6e ordre, Christophe Rousset puis Violaine Cochard Couperin François, Les Nations, La Piémontaise, Sarabande, Les Talens Lyriques, Christophe Rousset (dir.) Couperin François, 3e Leçon de ténèbres pour le mercredi saint, Sandrine Piau, Véronique Gens, Les Talens Lyriques, Christophe Rousset (dir.) Couperin Louis, Suite en ut majeur, menuet, Christophe Rousset Couperin Armand-Louis, “Le Boisgelou”, Christophe Rousset Vivaldi, Les Quatre Saisons, L'Été, Fabio Biondi, Europa Galante Bach, Concerto pour clavecin en fa mineur BWV 1056, Christophe Rousset, The Academy of Ancient Music, Christopher Hogwood (dir.) Bach, 5e Concerto brandebourgeois, finale, Café Zimmermann, Céline Frisch et Pablo Valetti (dir.) Charpentier, Actéon, Les Arts Florissants, William Christie (dir.) Boccherini, Fandango pour deux clavecins, William Christie, Christophe Rousset Lully, Atys, Chœur des nations, Les Arts Florissants, William Christie (dir.) Mozart, La Betulia liberata, ouverture, Les Talens Lyriques, Christophe Rousset (dir.) Gounod, Faust, “Ainsi que la brise légère” et le “chœur des sorciers”, Flemish Radio Choir, Les Talens Lyriques, Christophe Rousset (dir.) Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.
durée : 00:25:10 - Bruno Procopio, claveciniste et chef d'orchestre (1/5) - par : Judith Chaine - Dans ce 1er volet de nos entretiens, le claveciniste et chef d'orchestre d'origine brésilienne, Bruno Procopio partage avec nous les souvenirs heureux de son enfance passée loin de la ville, dans l'état du Mato Grosso. Une enfance au cœur de la jungle, tout près du parc indigène du Xingu. - réalisé par : Gilles Blanchard
Synopsis On today's date in 1733, the French composer François Couperin, known as “François Couperin the Great,” died in Paris. The building where Couperin lived for the last decade of his life still stands in Paris, and like the building, the high esteem afforded this Baroque composer has stood the test of time. François Couperin is known as “The Great” for two reasons: first, to distinguish him from other talented Couperins, who like the Bach Family, were also well-known musicians, and second, because, well, he was great – a strikingly original composer, admired for his harmonic invention and programmatic wit. Couperin is most famous for his 226 pieces for solo harpsichord, many with descriptive titles indicating they were portraits or caricatures of real people or recognizable types of people. Others have poetically ambiguous or rather baffling titles like “The Mysterious Barricades.” Were these titles private “insider” jokes for himself and his friends? Who knows? Maybe not knowing the secret “program” is even part of the music's appeal. Couperin was admired by fellow composers ranging from Bach to Brahms and Ravel, and some of his harmonically adventurous keyboard pieces have been orchestrated by Richard Strauss in the 20th century and Thomas Ades in the 21st. Music Played in Today's Program Francois Couperin (1688-1733) "Les Baricades misterieuses," from "2nd Livre de Clavecin" (Kenneth Gilbert, hc) Harmonia Mundi 190354/56
Sentiment, figure, lieu, personnage , objet, animal... : chaque dimanche, Nicolas Blanmont évoque un mot ou un thème à travers huit siècles d'histoire de la musique. Classique bien sûr, mais parfois aussi plus contemporaine comme la chanson, le rock ou la musique de film.
Poslušamo posnetek koncerta cikla GM oder Glasbene mladine Slovenije, ki je marca potekal v Kozinovi dvorani Slovenske filharmonije. Na njem je zaigral trio Tempestoso, ki so ga leta 2017 na Univerzi za glasbo in upodabljajočo umetnost v Gradcu ustanovili harmonikarica Sanja Mlinarič, klarinetist Andraž Golob in violončelist Urban Megušar. Jukka Tiensuu: Plus IV Jean Philippe Rameau: Pieces de Clavecin en Concert št. 5 Uroš Rojko: Stone Wind III (2003/4) Maurice Ravel, arr. Andraž Golob: Moja mati gos, Vilinski vrt (Lent en Grave) Sebastian Fagerlund: Breathe
durée : 00:13:32 - Disques de légende du mercredi 02 juin 2021 - L'excellente claveciniste suédoise Carole Cerasi avait réalisé plusieurs disques très remarqués au début des années 2000. Après plusieurs années sans nouvel enregistrement, elle nous livre en 2018 une magnifique intégrale en 10 volumes des œuvres pour clavecin de Couperin. Une divine surprise !
C'est l’actualité des jeunes talents au concert et au disque qui est mise à l’honneur, avec un accent particulier pour les talents de chez nous.
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.
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.
KEZAKOPERA Les Indes Galantes EPISODE 2/2Une émission de Audrey MarchalExtraits de l'opéra-ballet « les Indes Galantes » de Jean-Philippe Rameau: • Extrait n°1: Prologue, scène 3: « La gloire vous appelle », Jérôme Correas / Rameau, Les IndesGalantes, Les Arts Florissants, William Christie• Extrait n°2: Prologue, scène 5: « Traversez les plus vastes mers », Claron Mc Fadden, IsabellePoulenard / Rameau, Les Indes Galantes, Les Arts Florissants, William Christie• Extrait n°3: Prologue, Scène 2: « Musettes, résonnez », Claron Mc Fadden, Rameau, Les IndesGalantes, Les Arts Florissants, William Christie• Extraits n°4 et n°5: « Vaste empire des airs », Sabine Devieilhe / Le grand théâtre de l'Amour,Les Ambassadeurs, Alexis Kossenko• Extraits n°6 et n°7: 2ème entrée, scène 5: Tremblement de terre / Rameau, Les Indes Galantes,Les Arts Florissants, William Christie• Extrait n°8: « Tendre Amour » / Les Arts Florissants & les solistes du Jardin des Voix 2013 &William Christie• Extrait n°9: « 3ème entrée, scène 8: « Papillon inconstant », Noemi Rime / Rameau, Les IndesGalantes, Les Arts Florissants, William Christie• Extrait n°10: 4ème entrée, « Forêts paisibles », Sabine Devieilhe, Aimery Lefevre, Le jeunechoeur de Paris / Alexis Kossenko, Les Ambassadeurs• Extrait n°11: Nouvelle entrée, scène 6, prélude, « Régnez plaisirs et jeux », Claron Mc Fadden /Rameau, Les Indes Galantes, Les Arts Florissants, William Christie• Extrait n°12: Troisième entrée, scène 8, « l'éclat des roses les plus belles » / Rameau, Les IndesGalantes, Les Arts Florissants, William Christie• Extrait n°13: 1ère entrée, Rigaudons et Tambourins / Rameau, Les Indes Galantes, Les ArtsFlorissants, William Christie• Extrait n°14: 2ème entrée, scène 5: gavotte en rondeau / Rameau, Les Indes Galantes, Les ArtsFlorissants, William Christie• Extrait n°15: Prologue, scène 2: Menuets I & II / Rameau, Les Indes Galantes, Les ArtsFlorissants, William Christie• Extrait n°16: 3ème entrée, scène 8: « Dans le sein de Thétis » / Rameau, Les Indes Galantes,Les Arts Florissants, William ChristieMusique après l'émission:• Rameau : Nouvelles suites de Pièces de Clavecin, Les Sauvages / Jean Rondeau• Jean-Philippe Rameau, Frère Jacques, canon à 4 / Ensemble Le Parnasse Français / MathiasVidal, haute-contre / Jean-François Novelli, taille / Guillaume Olry, basse / Nicolas André,Evolène Kiener, bassons / François Saint-Yves, orgue / Louis Castelain, directionDocumentation:- Partition, édition 1736: « Les Indes Galantes, ballet, réduite à quatre grands concerts : avec unenouvelle entrée complète. Par Monsieur Rameau. Chez Boivin / Leclair / l'auteur.- Livret des Indes Galantes créé par Louis Fuzelier- Livret du Théâtre du Capitole, Les Indes Galantes, saison 2012 - 2013 / Christophe Rousset,Laura Scozzi, Sofiane Boussahel, Jean-Philippe Grosperrin, Robert Penavayre- « Jean-Philippe Rameau », Jean-Marie Lamour, Philharmonie de Paris- « Reflets - Les Siècles », Nicolas Derny, Philharmonie de Paris- « Odyssée baroque - Les Arts Florissants », Denis Morrier, Philharmonie de Paris- « Skip Sempé - Pierre Hantaï, Cycle les Indes baroques », Denis Morrier, Philharmonie de Paris- « Les Indes Galantes, Dossier pédagogique, Grand théâtre de Genève- "Dialogues avec un sauvage", de Lahontan / Le Monde, 9.11.2010 / Thomas Wieder- Ouellet, R. (2006). Adario : le Sauvage philosophe de Lahontan. Québec français,(142), 57–60.- Benoît Roux, « Entrer dans la danse : Les Sauvages de Rameau », dans Kalínago, Histoire(s)caraïbe(s) — XVIe-XVIIe siècles, 07/12/2019 / https://kalinago.hypo-theses.org/951- https://www.edmu.fr/2012/10/la-danse-baroque-et-la-suite.html- Livret Hippolyte et Aricie, les Arts Florissants, ERATO / William Chrisite / Sylvie Bouissou- Transformation de l'autre exotique dans Les Indes galantes de Rameau et Fuzelier (1736) /Catherine Gallouët Hobart & William Smith Colleges • Générique début émission: Offenbach. Les Contes d'Hoffmann. Acte 1. Prélude. OrchestreNational de France. Seiji Ozawa + accord orchestre.• Générique fin émission: « Bacchanale » - Camille Saint-Saens. Samson et Dalila. Acte 3.Orchestre de Paris. Barenboim. Technique: Charlie Udave Remerciements: Jacques Lavergne, Jean-Luc Palévody, Stéphane Fuget, Pierre-EmmanuelTriffault
durée : 00:03:11 - A la recherche du luth-clavecin de Bach - par : Suzanne Gervais - Rares sont ceux qui ont déjà entendu un lautenwerck, ou luth-clavecin, instrument très apprécié du Cantor de Leipzig et aujourd’hui disparu. Certains luthiers et interprètes s’y intéressent aujourd’hui de près…
durée : 01:28:42 - Philippe Humeau, facteur de clavecin - par : Priscille Lafitte - Gustav Leonhardt, Pierre Hantaï, Bertrand Cuiller… les claviéristes sont nombreux à avoir demandé à Pierre Humeau, facteur de clavecin, de fournir un instrument pour interpréter J.S. Bach, Froberger, ou encore les virginalistes anglais. Portrait en musique d’un amoureux fou de clavecins. - réalisé par : Marie Grout
Danes je pred nami nekoliko drugačna oddaja Nove glasbene generacije, in sicer bo izjemoma potekala v živo: vključili se bomo namreč v koncert cikla GM oder Glasbene mladine Slovenije, ki bo potekal v Kozinovi dvorani Slovenske filharmonije. Tudi ta cikel v letošnji koncertni sezoni žal ni prav zaživel. Poslušali smo le dva koncerta jeseni, ostali pa so bili zaradi protikoronskih ukrepov odpovedani. Z današnjim koncertom torej cikel GM oder sporoča, da ga še ni konec in da bomo njegove koncerte še lahko spremljali. Na koncertu bo zaigral trio Tempestoso, ki so ga leta 2017 na Univerzi za glasbo in upodabljajočo umetnost v Gradcu ustanovili harmonikarica Sanja Mlinarič, klarinetist Andraž Golob in violončelist Urban Megušar, predstavil pa bo pisan spored: Jukka Tiensuu: Plus IV Jean Philippe Rameau: Pieces de Clavecin en Concert Št. 5 Uroš Rojko: Stone Wind III Maurice Ravel (arr. Andraž Golob): Ma Mere l'Oye, Le Jardin Féerique (Lent en Grave) Sebastian Fagerlund: Breathe
L'oiseau techno Sea shanties : Nathan Evans : Wellerman Wellerman mashup Drunken Sailor Welleman vaccine The Longest Johns : Leave her Johnny MayTree :Windows sound effectsiPhone sound effects Vinheteiro :13 Bach piecesChopin on harpischordBeethoven : Moonlight sonataSound synthesis Covers : Zelda on marimba Kossan : Thunderstruck Magoyond : Le pudding à l'arsenic Alexander Boldachev : Jammin' Antonio Forcione : Imagine WDR Klassik : Game of Thrones : façon Impressionnistes Game of Thrones : façon Vivaldi Game of Thrones : façon Hans Zimmer Game of Thrones : façon minimalistes Instruments zarbi : Orgue en papier et carton Guitare et Lego James Bond Guitare Seven nation army au stylophone Chapi Chapo et les petites musiques de pluie Physics of beauty Trucs en vrac : Like a virgin je ne regrette rien Philip Glass performance Jacob Collier : Sleeping on my dreams Deco : Wonderwall vs Smalltown boy Beatrice Harrison et le rossignol La +BCdM : Jevetta Steele : Calling you par Bob Telson - Jeff Buckley - Saperli Starlette Jevetta Steele : Here it is The Steeles : The full moon show La Playlist de la +BCdM : sur le Tube à Walter sur Spotify (merci John Cytron) sur Deezer (merci MaO de Paris) sur Amazon Music (merci Hellxions) et sur Apple Music (merci Yawourt) Le son mystère : Sonification of a Hubble deep space image Chick Corea : Overjoyed Aude avec Fanny Sephiraph Slassh Pincho Bengir merci à Rémi 2D Arthur Froment Lali Pop goes the WZA K_rot Barberouss Pof Magicfingers Michel Buffa Armos Laurent Doucet Michidar Arno Doucet Didtwit Dewey Hervé Coiral Kobal Podcasts et liens cités : Passion Médiévistes La diagonale du vide PodRennes Le générique de fin est signé Cousbou walter@linaudible.com
Chaque samedi, Laure Dautriche nous fait (re)découvrir un morceau qui a marqué l'histoire de la musique classique. Aujourd'hui, elle nous propose de faire un saut dans le passé, au début du 18e siècle, pour replonger dans l'oeuvre de François Couperin.
Entrevue avec l'humoriste André Sauvé sur l'écriture en nature; le point, avec Marc-André Lussier, sur la présélection des Oscars; critique de Johane Despins du film Supernova; critique de Marc-André Lussier du concert de Karina Guavein avec l'ensemble Clavecin; entrevue avec Mylène St-Sauveur sur son rôle comme enquêtrice dans la série Alertes; entrevue avec Frédéric Millaire Zouvi sur le bum sympathique de 5e Rang; critique de Philippe Renaud du nouvel album de Dominique Fils-Aimé; entrevue avec Simon Lacroix à propos de son rôle dans la série Faits divers; et entrevue avec l'auteur Robert Lalonde sur son dernier livre, La reconstruction du paradis.
durée : 00:08:03 - Bach : Partitas pour clavecin (BWV 825-830) - Colin Tilney - A 87 ans, le musicien Colin Tilney enregistre les 6 partitas pour clavecin de Jean-Sébastien Bach. Certes les tempi sont lents mais c'est pour la clarté de la polyphonie et la noblesse du propos. "A 87 ans, nous avons tout notre temps", c'est en tout cas ce que semble nous dire ce musicien.
Oudemuziekkenner Kees Koudstaal schotelt u de mooiste en recentste CD’s met oude en klassieke muziek voor. Vandaag hoort u delen van de nieuwe albums van Pierre Hantaï, Scaramuccia, Les Ombres en Concerto Imperiale. 1. Georg Frideric Handel (1685-1759) – Klavecimbelsuite nr. II in F gr. Uitvoerende: Pierre Hantaï, klavecimbel (cd: ‘Suites pour Clavecin’, merk […]
: ¿y si Blas de Lezo hubiese vivido unos años más? En este relato los aprovechara para atacar Londres. Escucharás como un grupo de voluntarios marcha con Blas de Lezo a Inglaterra con intención de cortarle la oreja a Jorge II. Este episodio es menos ensayo histórico que otras veces, y más un relato de aventuras. Una oportunidad para divertirse imaginando nuevas aventuras de esta mítica figura. • Cronograma: - 00:00 - Presentación - 02:25 - 1. Blas de Lezo tras la batalla de Cartagena. - 12:26 - 2. Ataque a Jamaica. - 25:40 - 3. Blas de Lezo en la península Ibérica. - 36:00 - 4. La rebelión jacobita de 1744. - 42:00 - 5. El asalto a Inglaterra. - 1:46:30 - 6. Vuelta a España. - 2:00:30 - Comentario final • Créditos Música The-path-of-the-goblin-king, The Curtain Rises, Tafi Maradi no voice, Clash Defiant, our-story-begins - by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/ Otras piezas musicales - Jean-Philippe Rameau_ Pièces de Clavecin en Concerts No.1 in - Jean Baptiste Lully (1632-1687) - Marche pour la ceremonie des Turcs - Thomas Arne - Rule Britannia Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals
durée : 00:11:32 - Le Disque classique du jour du mardi 20 octobre 2020 - Häkkinen et ses trois compagnons du Helsinki Baroque Orchestra interprètent Bach sur quatre clavecins tous issus d'une école de fabrication différente (allemande, française, flamande et italienne), pour un enregistrement original et passionnant.
durée : 01:58:17 - En pistes ! du mardi 20 octobre 2020 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Mais aussi le nouveau CD du harpiste Alexander Boldachev consacré à Chopin, le clavier bien tempéré interprété par Vincent Bernhardt ou encore un coffret Carl Orff paru à l'occasion de son 125 anniversaire. - réalisé par : Lionel Quantin
durée : 00:27:18 - Les cordes pincées et virtuoses du clavecin - Si pour le piano, les cordes sont frappées par des marteaux, pour le clavecin, les cordes sont pincées. Voici quelques œuvres phares écrites pour cet instrument par Haendel, Bach et Carl Philipp Emanuel Bach, interprétées par Trevor Pinnock et Andreas Staier.
durée : 00:12:27 - Disques de légende du mercredi 23 septembre 2020 - Le claveciniste et chef d'orchestre Christophe Rousset enregistre en 2010 les Suites pour clavecin de Louis Couperin, pour le label Aparte.
2013 kỷ niệm 200 năm ngày sinh nhà soạn nhạc Giuseppe Verdi. Với 28 vở ca nhạc kịch opéra để đời, Verdi đã khéo kết hợp nghệ thuật sân khấu với âm nhạc. Cho đến tận ngày nay Verdi vẫn còn là một trong hai nhà soạn nhạc opéra mà các tác phẩm được diễn nhiều nhất trên thế giới, bởi nhạc của ông dễ đi vào lòng người. Chương trình của các rạp hát opéra uy tín nhất không thể thiếu những Nabucco, Rigoletto, La Traviata hay Aida của Verdi. (Tạp chí phát lần đầu ngày 20/10/2013) Vậy mà thiếu chút nữa Verdi đã gác bút sau nhiều tai họa đầu đời. Giuseppe Verdi sinh ngày 10/10/1813 tại một ngôi làng ở miền Bắc nước Ý, gần thành phố Parme trong một gia đình tương đối nghèo. Năm lên 6, Verdi được học nhạc và khi lên 10, Giuseppe được vinh dự đệm đàn trong mỗi buổi thánh lễ ở nhà thờ của làng. Khi mới vừa 15 tuổi, Verdi bắt đầu sáng tác, chủ yếu để tìm kế sinh nhai. Dù vậy Verdi đã sớm khẳng định mình vừa là một nhà soạn nhạc có tài, vừa là một nhạc sĩ chơi đàn Clavecin đầy triển vọng, dù chủ yếu tự học. Năng khiếu của Verdi đã sớm khiến thương gia Antonio Berezzi động lòng trắc ẩn. Ông là người giúp đỡ tài chính và giới thiệu Giuseppe Verdi vào Nhạc viện Milano. Thế nhưng cánh cổng của học viện âm nhạc nổi tiếng đó đã khép chặt khi Giuseppe tìm đến – khi đó Verdi 19 tuổi. Và thế là Verdi phải tự tìm thầy học đạo. Dù có tài và được một vài người danh tiếng đỡ đầu, nhưng con đường sự nghiệp đã không mở rộng thênh thang trước mắt Verdi. Trớ trêu là sau này, chính nhạc viện Milano lại được vinh dự mang tên là Nhạc việnVerdi. Chật vật lắm Verdi mới tìm được một chỗ đứng ở Milano. Năm 1836 ông lập gia đình với Margherita, cô con gái của ân nhân Antonio Berezzi. Margheritta chóng sinh cho Verdi hai đứa con, một gái một trai. Hạnh phúc gia đình bên vợ đẹp con khôn là nguồn cảm hứng giúp Verdi sáng tác và ông chủ yếu bắt đầu hướng tới thể loại opéra. Năm 1838 Giuseppe hoàn tất vở opéra đầu tiên Oberto, conte di San Bonifacio. Đầy tự tin và kiêu hãnh, Verdi đề nghị thẳng với giám đốc điều nhà hát nổi tiếng La Scala của Milano cho diễn vở ca nhạc kịch opéra đầu tay. La Scala là nơi chỉ dành cho những vở opéra được coi là giá trị nhất, nơi phải là những tên tuổi như Rossini hay Bellini mới có chỗ đứng. Nabucco điểm khởi đầu Oberto vừa hoàn tất và trong lúc đang kỳ vọng được dựng vở diễn của mình trên sân khấu La Scala thì Verdi chẳng để lãng phí thời gian. Ông bắt tay ngay vào việc soạn một vở opéra thứ nhì. Chẳng ngờ định mệnh lần lượt cướp đi của ông cô con gái cả, cậu con trai mới hơn một tuổi và người vợ xinh đẹp Margherita. Năm 1840, cửa nhà tan tác, Giuseppe Verdi rơi xuống tận cùng của tuyệt vọng. Chưa đầy 30 tuổi, Verdi đã cỗi già. Hơn một lần ông có ý định từ bỏ tất cả để tìm lại vợ con bên kia thế giới. Thành công của vở Oberto chỉ còn lại vị đắng đối với Verdi. Vở nhạc kịch thứ nhì đang soạn giở trong ngõ cụt. Mùa đông năm đó, trên con đường trở về mái nhà đơn độc, Verdi tình cờ gặp Merelli, giám đốc điều hành nhà hát La Scala. Verdi nói với Merelli ông sẽ không bao giờ sáng tác nữa. Nhưng cũng chính cái đêm tối trời, lạnh giá hôm ấy, định mệnh của Verdi bước sang một ngã rẽ khác, khi Merelli dúi vào tay Verdi một bản thảo và khẩn khoản yêu cầu Verdi hãy đọc qua. Trở về căn phòng lạnh lẽo, Verdi đọc lại Kinh Thánh, đoạn kể về nỗi khổ của người Do Thái lưu vong bị bắt về thành Babylone làm nô lệ, phục vụ cho tên bạo chúa Nabuchodonosor… Thế rồi đôi mắt đã khô lệ của Verdi vô tình đặt lên trên mớ giấy mà giám đốc nhà hát La Scala đã trao vội cho ông. Verdi bị câu thơ đầu tiên trong bản thảo thôi miên : « Va, pensiero, sull’ali dorate … ». Suốt đêm ông đọc đi đọc lại những vần thơ của Temistocle Solera, dựa trên Thi Thiên 137 trong kinh thánh : Năm 589 trước Công Nguyên, nhà vua Nabuchodonosor của Babylone chiếm đóng Jérusalem, sát hại rất nhiều người Do Thái, đập phá không biết bao nhiêu đền thờ, cung điện của thành Jerusalem, đày người Do Thái về thành Babylone làm nô lệ. Một dân tộc đi tìm dự do « Va, pensiero, sull’ali dorate … » là nỗi đau của một dân tộc bị lưu đày hướng về quê cũ, là khát vọng tự do, là tiếng gọi vùng lên, là niềm tin nơi Thiên Chúa … Những tâm tư đó đã ngấm vào từng hơi thở của Verdi. Cố hương của Verdi là thiên đường, nơi Verdi từng sống trong hạnh phúc với người vợ trẻ và hai đứa con thơ. Khát vọng tự do của nhà soạn nhạc là được giải phóng khỏi khổ đau, cô đơn và tuyệt vọng. Thế nhưng nỗi lòng người xa xứ trong Kinh thánh gần sáu trăm ngăm trước Công Nguyên cũng là tâm tư của một dân tộc, một đất nước đang bị vương quốc Áo đô hộ. Người Ý ở vào thế kỷ XIX cũng ấp ủ giấc mơ tự do như người Do Thái sáu thể kỷ trước Công Nguyên. Chính vì thế mà Nabucco được coi là vở opéra mang nặng màu sắc chính trị nhất của Verdi. Đêm ngày 09/03/1842 vở ca nhạc kịch Nabucco ra mắt khán giả lần đầu tiên trên sân khấu nhà hát La Scala, Milano. Những nốt nhạc đầu tiên của bản hợp ca « Va, pensiero … » của Verdi đã thôi miên khán giả Ý, tương tự như chính Verdi đã bị cuốn hút lần đầu tiên ông đọc bản thảo của Solera chưa đầy hai năm trước đó. Một giai điệu dễ nhớ, cộng với lời ca rút tự đáy lòng là bí quyết đưa Nabucco lên đỉnh cao nghệ thuật. Sau này, bản thân tác giả nhìn nhận sự nghiệp của ông chỉ sự thực bắt đầu với vở opéra Nabucco. Giuseppe Verdi « đăng quang » với Nabucco để liên tục trị vì trên thế giới âm nhạc nghệ thuật của Ý trong suốt 61 năm, cho đến khi ông từ dã cõi đời ngày 27/01/1901. Nhiều nhân chứng kể lại rằng, trong buổi ra mắt khán giả đầu tiên, Verdi trong bộ y phục đen từ đầu đến cuối đã vụng về bước ra sân khấu để cảm tạ nhiệt tình của khán giá và trong những tiếng hoan hô vang dậy, Verdi đã khóc rất nhiều : khóc vì tuyệt vọng vì ông hiểu rằng Margherita không bao giờ bước lên đỉnh cao danh vọng. Nhưng rồi, rồi những tràng pháo tay bất tận của khán giả đã phần nảo sưởi ấm cõi lòng Verdi. Thoạt đầu được dự trù cho tám buổi diễn, nhưng trước phản ứng của công chúng, Nabucco đã được ra mắt khán giả Milano đến 57 lần trong ba tháng ròng rã. Đây là một kỷ lục kể từ khi nhà hát nổi tiếng La Scala được hình thành. Bản « hợp ca của những người nô lệ « Va, pensiero … » được cả nước Ý thuộc nằm lòng và thậm chí còn được xem là « bản quốc ca không chính thức » của một dân tộc trên con đường đi tìm tự do. Nhưng Giuseppe Verdi không chỉ là một nhà yêu nước, không chỉ là một nghệ sĩ dấn thân, là ngọn cờ kháng chiến chống ngoại xâm. Verdi trước hết là một nhà soạn nhạc để xưng tụng tình yêu và hơn thế nữa, ông là người đã đổi mới sân khấu nghệ thuật và âm nhạc của thế giới trong thế kỷ thứ XIX. Làn gió mới của nghệ thuật sân khấu Tình yêu luôn là cột trụ trong mỗi tác phẩm của Verdi. Lồng trong bối cảnh chính trị và lịch sử, Nabucco còn là một câu chuyện tình tay ba, khi Abigaille và Fenena, hai cô con gái của bạo chúa Nabuchodonosor cùng yêu tên nô lệ Do Thái Ismael. « Motif » một câu chuyện tình tay ba, giữa « người thắng và kẻ thua » này được Verdi lập lại qua vở ca nhạc kịch mang tên cô nô lệ Aïda, sáng tác năm 1870. Bị bắt về hầu hạ công chúa Amneris, con gái hoàng đế Ai Cập, Aida lại thầm yêu Radamès, một viên dũng tướng của triều đình. Nhưng Aïda không đơn thuần là một tên nô lệ mà cô chính là con gái của vua xứ Ethiopia, Amonasro. Khi người yêu ra trận, Aïda thầm mong anh sống sót trở về, dù biết Radamès phải dẫm lên xương máu của dân tộc mình để có được ngày về. Tình yêu hóa Aïda và Radamès thành những kẻ thông đồng với giặc, phản lại tổ quốc. Trích đoạn nổi tiếng nhất trong vở Aïda là khúc khải hoàn chào mừng dũng tướng Radamès chiến thắng trở về. Ở đây Verdi đã huy động một dàn nhạccùng một ban hợp xướng hùng hậu để minh họa cho sức mạnh, vẻ oai nghi của nền văn hóa Ai Cập cổ đại. Opéra Aïda được diễn lần đầu tiên tại nhà hát Cairo ngày 24/12/1871 trong khuôn khổ chương trình khánh thành thành kênh đào Suez. Thành công lại đúng hẹn với Verdi. Nhưng nhà soạn nhạc người Ý này không hoàn toàn mãn nguyện bởi vì buổi diễn đầu tiên chỉ mở cửa đón các hàng chức sắc mà không đến được với đại chúng. Trong toàn bộ gần 30 vở opéra trong sự nghiệp, ông đã kết hợp nghệ thuật sân khấu với âm nhạc sao để dễ chinh phục khán giả, bất luận giàu nghèo, tuổi tác, bất luận vị trí trong nấc thang xã hội hay màu da. Cũng để đến gần với khán giả, Verdi đã không ngừng đổi mới từ nội dung đến hình thức để tất cả mọi người cũng có thể cảm nhận được cái đẹp của thể loại opéra. Về nội dung, Giuseppe Verdi luôn chọn những chủ đề rất gần gũi và dễ hiểu với mọi người như là sự hận thù, lòng đố kỵ, nỗi đam mê, tình yêu và hận thù, trăn trở của kẻ tha hương, sự hy sinh cao cả của một người tình như để chuộc lại lỗi lầm, sự giày vò của một nàng công chúa khi phải chọn giữa bên hiếu, bên tình … Verdi thường mượn một vài tác phẩm nổi tiếng của những nhà văn đã được công chúng biết đến rộng rãi như là Voltaire, hay Victor Hugo, như Shakespear, Lord Byron, Schiller hay Alexandre Dumas … để sáng tác. Vị trí riêng biệt của các bản đồng ca Về hình thức Verdi đã thực sự đem lại một cuộc cách mạng trên sân khấu ở nhiều điểm. Thứ nhất trong tất cả các vở opéra của Verdi đều được dàn dựng một cách hết sức sống động. Ông đem rất nhiều gam màu vào các tác phẩm của mình –từ trang phục của diễn viên cho đến nền phông sân khấu, từ chất giọng của các nghệ sĩ đến âm hưởng, tiết tấu và nhất là Verdi sử dụng rất nhiều nhạc cụ khác nhau để tạo nên sắc thái riêng biệt đó cho dòng nhạc của mình. Nét tiêu biểu thứ nhì trong phong cách của Verdi là ông luôn dành hẳn một chỗ đứng riêng biệt cho các dàn hợp xướng. Khác với những soạn giả khác, những bản đồng ca trong các vở opérat của Verdi không chỉ để minh họa hay làm nền đệm cho những nhân vật chính trong vở tuồng. Những bài đồng ca của Verdi đều có cái hồn riêng của nó, đều có một vị trí độc lập trong tác phẩm của ông. Verdi soạn những bản đồng ca đó như ông tạo dựng một nhân vật trong vở ca nhạc kịch của mình. Điển hình là bài hợp xướng trong hai tác phẩm Nabucco và Aida ở trên. Tác phẩm La Traviata, dựa trên cốt truyện Trà hoa nữ - La Dame aux Camélias của nhà văn Pháp, Alexandre Dumas (con), mở ra trong bầu không khí vui nhộn, trong một buổi tiếp tân tại nhà riêng của cô gái giang hồ Violetta Valéry. Bài hợp xướng Brindisi với nội dung xưng tụng rượu ngọt và tình yêu thể hiện được nếp sống buông thả của cô gái làng chơi thả mình trong hơi men và vòng tay của những bậc quân tử. Bản hợp ca này tự nó đủ đem lại cho người nghe một bầu không khí vui nhộn,nhẹ nhàng dễ nghe và dễ nhớ. Thế nhưng nếu nhìn tổng thể vở diễn, thì những âm hưởng đó phản ánh cuộc sống bề ngoài và buông thả của cô gái làng chơi Violetta. Khía cạnh đó hoàn toàn tương phản với thế giới nội tâm của một má hồng phận bạc. Vai trò của bản hợp ca đó là nhằm báo trước tấn bi kịch sắp mở màn. Nhưng bước đột phá về nghệ thuật sân khấu và âm nhạc của Giuseppe Verdi không dừng lại ở đó. Cũng chính với La Traviata, sáng tác năm 1853, nhà soạn nhạc người Ý này đã đưa thách thức công luận thời đó : lần đầu tiên nhân vật chính trong một vở nhạc opéra lại không phải là một người đàn bà đoan trang hiền thục, mà đó chỉ là một cô gái điếm hạng sang, quay cuồng với những cuộc vui thâu đêm suốt sáng. Xưng tụng tấm còng cao cả của một cô gái giang hồ là một chủ đề quá mới mẻ và không phù hợp với đạo đức của thời bấy giờ. Một phần công luận Ý ở vào giữa thế kỷ thứ XIX không thể chấp nhận điều đó cho dù Violetta hy sinh cả tình yêu và sinh mạng để chuộc lại lỗi lầm. Lại cũng lần đầu tiên Verdi chọn sáng tác dựa trên một tác phẩm văn học còn « mới tinh » chỉ vừa được Dumas hoàn tất trước đó một năm. La Traviata khi được trình làng đã bị chỉ trích gay gắt. Nhất là khi Verdi đã không ngần ngại đưa nhiều chi tiết riêng tư trong cuộc sống của ông vào tác phẩm : chỉ cần tinh ý một chút, sẽ thấy ngay trong nhân vật nữ của La Traviata, Violetta phảng phất bóng hìn diva Giuseppina Strepponi. Strepponi từng là người tình của giám đốc nhà hát La Scala, Milano, và trong một thời gian dài, bà đã chung sống ngoài hôn nhân với Verdi. Verdi đã đi trước thời gian, và công luận Ý vào năm 1853 chưa sẵn sàng đón nhận một vở opéra như La Traviata. Buổi ra mắt đầu tiên tại nhà hát La Fenice ở Venise là một thất bại nặng nề. Nhưng riêng với tác giả, ông vẫn tin rằng công luận cần có thêm thời gian để đến với tác phẩm này. Verdi đã không nhầm. Chỉ một năm sau thì cũng tại Venise, La Traviata đã được hoan nghênh hết chỗ nói và vở ca nhạc kịch này đã được diễn đi diễn lại nhiều lần trên đất Ý cũng như ở nước ngoài. Đến nay, La Traviata được xem là một trong những vở opéra công phu nhất, hoàn chỉnh nhất, được diễn nhiều nhất trên thế giới và được yêu chuộng nhất của mọi thời đại, kể từ khi nghệ thuật sân khấu opéra ra đời vào thế kỷ XVII.
Ils nous parlent de leur nouvel album, paru chez Erato, intitulé "Barricades"
Ils nous parlent de leur nouvel album, paru chez Erato, intitulé "Barricades"
durée : 01:57:29 - En pistes ! du lundi 08 juin 2020 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au menu du jour également : les oeuvres romaines de Kapsberger par le théorbiste Fred Jacobs; la soprano Barbara Hannigan dans une oeuvre qui lui est chère, les "Quatre Chants pour franchir le seuil" de Gérard Grisey; premier album solo pour le jeune pianiste Théo Fouchenneret... - réalisé par : Davy Travailleur
durée : 00:03:36 - France Bleu Normandie Grand Angle FBN (Rouen)
durée : 00:17:12 - Disques de légende du mercredi 29 janvier 2020 - Le claveciniste Bertrand Cuiller enregistre en 2018 pour Harmonia Mundi ce disque intitulé "Un petit théâtre du monde", premier volume d'une intégrale des quatre Livres de pièces de clavecin de François Couperin. Un disque admirable, très librement organisé par un musicien d'une géniale simplicité !
durée : 00:36:05 - Ils font bouger la Franche-Comté - FB Besançon - L'Art aide à vivre et c'est son quotidien, Gérald Cattin voyage dans le temps en étant facteur d'Orgue et de clavecin. Il allie ces deux factures comme c'était le cas au 17é. soyons curieux dans ils font bouger la Franche Comté.
durée : 00:24:44 - Jean-Baptiste Forqueray, Suite n°3 - par : Anne-Charlotte Rémond - En 1747, Jean-Baptiste Forqueray publie, en version clavecin, les pièces pour viole composées par son père, Antoine Forqueray, mort deux ans plus tôt... - réalisé par : Claire Lagarde
durée : 01:57:32 - En pistes ! du vendredi 18 octobre 2019 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme ce matin : Chostakovitch, Dvořák & Weinberg par le Trio Karénine, le pianiste français Lucas Debargue donne une nouvelle vie aux Sonates pour clavecin de Domenico Scarlatti, lumière sur la musique de Friedrich Schneider, deux joyaux de Manuel de Falla dirigés par Pablo Heras-Casado - réalisé par : Davy Travailleur
Ce dimanche, Thierry Geffrotin nous fait (re)découvrir l'oeuvre du compositeur Domenico Scarlatti.
durée : 00:14:38 - Le Disque classique du jour du mercredi 04 septembre 2019 - « Depuis que j’ai découvert Jordi Savall avec "Tous les matins du monde" et Christophe Coin, j’éprouve un profond amour pour la viole de gambe. C’est un instrument qui a tellement de qualité et qui m’émeut énormément » disait Antoine Tamestit dans la Matinale de France Musique.
Conserver, analyser et restaurer les instruments de musique c’est la mission du laboratoire de recherche du Musée de la musique – Cité de la Musique (CRC- USR 3224), niché à la Philharmonie de Paris. Nous discuterons du son émis par différents instruments et comment au fil des années ils se conservent et révèlent leurs mystères....
durée : 00:59:52 - Le clavecin bien disséqué - par : Lionel Esparza - En direct et en public depuis l'Hôtel Bedford - réalisé par : Antoine Courtin
durée : 01:58:56 - Cello Fan ; le Concerto pour clavecin de Falla par Constance Taillard et l'ensemble Le Balcon (en public au Studio 106) - par : Jean-Baptiste Urbain - ## Prélude à l'après-midi : Cello Fan {% image 8817fada-738a-48fc-bcc3-aafe5d9f66e7 %} **Franz Schubert** _Sonate pour arpeggione et piano en la mineur D. 821 : III. Allegretto_ François Salque, violoncelle / Claire-Marie Le Guay, piano Mirare {% image 7339f7f2-f433-481a-a644-a4dd44a400c8 %} **Johannes Brahms** _Sonate pour violoncelle et piano n° 2 en fa majeur op. 99 : II. Adagio affettuoso_ Jean-Guihen Queyras, violoncelle / Alexandre Tharaud, piano Erato {% image d858d44e-816a-4e96-b982-4d43d4e12c0b %} **Rita Strohl** _Titus et Bérénice, Grande Sonate Dramatique pour violoncelle et piano : I. Allegro moderato (Incertitude de Titus)_ Edgar Moreau, violoncelle / David Kadouch, piano Erato {% image 1282cee1-eaab-497d-9558-6b9c3fc21eab %} **Astor Piazzolla** _Le Grand Tango_ Gautier Capuçon, violoncelle / Jérôme Ducros, piano Erato ## Concert **Ensemble [Le Balcon](http://www.lebalcon.com/) Direction [Maxime Pascal](http://www.lebalcon.com/index.php/les-membres-fondateurs/maxime-pascal)** **Avec Constance Taillard, clavecin** **Domenico Scarlatti** _Sonates en la majeur K. 113 et 114_ Constance Taillard, clavecin {% embed dailymotion k68ZP3rqF4RL3lqbeUR %} **Manuel de Falla** _Concerto pour clavecin et cinq instruments I. Allegro II. Lento III. Vivace_ Constance Taillard, clavecin Le Balcon : Claire Luquiens, flûte Quentin d'Haussy, hautbois Iris Zerdoud, clarinette Valentin Broucke, violon Askar Ishangaliyev, violoncelle Maxime Pascal, direction {% embed dailymotion k6Veb77fGVAj1jqbeVL %} **Arthur Lavandier** _Le Livre, I_ [Alphonse Cemin](http://www.lebalcon.com/index.php/les-membres-fondateurs/alphonse-cemin), piano {% embed dailymotion k2UrDDE6rzinIaqbeXC %} **Karlheinz Stockhausen** _Halt, Mission et Himmelfahrt, extraits de Donnerstag aus Licht, Acte II_ Le Balcon : Henri Deléger, trompette Iris Zerdoud, cor de basset Simon Guidicelli, contrebasse Maxime Pascal, direction _**Enregistré en public le lundi 29 janvier au Studio 106**_ - réalisé par : Laurent Lefrançois
Just in time for Halloween, Russell is joined by Kaitlyn Sharo and Kristen VIncenty for a spooky ghost tour of the CIncinnati Art Museum. Meet the many spirits who haunt the museum. Talking points include: Haunted clocks, Mary/Elizabeth, Civil War Ghosts, Haunted Feng Shui, and Scooby Doo paintings. Corrections - Francis Boott (Lizzie's father) did not die before she and Frank Duveneck married. He actually outlived his daughter. Theme song: Offrande Musicale by Bacalao Transitional music: Concerto no.1 pour Clavecin by Bacalao For more info and other programs, visit: cincinnatiartmuseum.org/
Nicholas Kenyon compares recordings on both harpsichord and piano of Rameau's volumes of harpsichord music and makes a personal recommendation
con Giorgio Cerasoli
con Giorgio Cerasoli
JS Bach's - Goldberg Variations #5Our version of JS Bach's - Goldberg Variations #5blessings,Shiloh Worship MusicThe Goldberg Variations, BWV 988, is a work for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, the work is considered to be one of the most important examples of variation form. The Variationsare named after Johann Gottlieb Goldberg, who may have been the first performer.Johann Sebastian Bach from WikipediaJohann Sebastian Bach[1] (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer, organist, harpsichordist, violist, and violinist of the Baroque Period. He enriched many established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach wrote much music that was revered for its intellectual depth, technical command, and artistic beauty. Many of his works are still known today, such as the Brandenburg Concertos, the Mass in B minor, the Well-Tempered Clavier, and his cantatas, chorales, partitas, passions, and organ works.Bach was born in Eisenach, Saxe-Eisenach into a very musical family; his father, Johann Ambrosius Bach was the director of the town's musicians, and all of his uncles were professional musicians. His father taught him to play violin and harpsichord, and his brother, Johann Christoph Bach taught him the clavichord and exposed him to much contemporary music.[2][3] Bach also sang, and he went to the St Michael's School in Lüneburg because of his skill in voice. After graduating, he held several musical posts across Germany: he served as Kapellmeister (director of music) to Leopold, Prince of Anhalt-Köthen, Cantor of Thomasschule in Leipzig, and Royal Court Composer to August III.[4][5] Bach's health and vision declined in 1749, and he died on 28 July 1750. Modern historians believe that his death was caused by a combination of stroke and pneumonia.[6][7][8]Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognised as a great composer until a revival of interest and performances of his music in the first half of the 19th century. He is now generally regarded as one of the main composers of the Baroque period, and as one of the greatest composers of all time.[9]LifeChildhood (1685–1703)Johann Sebastian Bach was born in Eisenach, Saxe-Eisenach, on 21 March 1685 O.S. (31 March 1685 N.S.). He was the son of Johann Ambrosius Bach, the director of the town musicians, and Maria Elisabeth Lämmerhirt.[10] He was the eighth child of Johann Ambrosius; the eldest son in the family was 14 at the time of Bach's birth.[11] His father taught him violin and harpsichord.[12] His uncles were all professional musicians, whose posts included church organists, court chamber musicians, and composers. One uncle, Johann Christoph Bach (1645–93), introduced him to the organ, and an older second cousin, Johann Ludwig Bach (1677–1731), was a well-known composer and violinist. Bach drafted a genealogy around 1735, titled "Origin of the musical Bach family".[13]Bach's mother died in 1694, and his father died eight months later.[5] Bach, 10, moved in with his oldest brother, Johann Christoph Bach (1671–1721), the organist at the Michaeliskirche in Ohrdruf, Saxe-Gotha-Altenburg.[14] There he studied, performed, and copied music, including his own brother's, despite being forbidden to do so because scores were so valuable and private and blank ledger paper of that type was costly.[15][16] He received valuable teaching from his brother, who instructed him on the clavichord. J.C. Bach exposed him to the works of great composers of the day, including South German composers such as Johann Pachelbel (under whom Johann Christoph had studied)[2] and Johann Jakob Froberger; North German composers;[3] Frenchmen, such as Jean-Baptiste Lully, Louis Marchand, Marin Marais; and the Italian clavierist Girolamo Frescobaldi. Also during this time, he was taught theology, Latin, Greek, French, and Italian at the local gymnasium.[17]At the age of 14, Bach, along with his older school friend George Erdmann, was awarded a choral scholarship to study at the prestigious St. Michael's School in Lüneburg in the Principality of Lüneburg.[18] Although it is not known for certain, the trip was likely taken mostly on foot.[17] His two years there were critical in exposing him to a wider facet of European culture. In addition to singing in the choir he played the School's three-manual organ and harpsichords.[17] He came into contact with sons of noblemen from northern Germany sent to the highly selective school to prepare for careers in other disciplines.Although little supporting historical evidence exists at this time, it is almost certain that while in Lüneburg, Bach visited the Johanniskirche (Church of St. John) and heard (and possibly played) the church's famous organ (built in 1549 by Jasper Johannsen, and played by Georg Böhm). Given his musical talent, Bach had significant contact with prominent organists of the day in Lüneburg, most notably Böhm, but also including organists in nearby Hamburg, such as Johann Adam Reincken.[19]Weimar, Arnstadt, and Mühlhausen (1703–08)In January 1703, shortly after graduating from St. Michael's and being turned down for the post of organist at Sangerhausen,[20] Bach was appointed court musician in the chapel of Duke Johann Ernst in Weimar. His role there is unclear, but likely included menial, non-musical duties. During his seven-month tenure at Weimar, his reputation as a keyboardist spread so much that he was invited to inspect the new organ, and give the inaugural recital, at St. Boniface's Church in Arnstadt, located about 40 km southwest of Weimar.[21] In August 1703, he became the organist at St Boniface's, with light duties, a relatively generous salary, and a fine new organ tuned in the modern tempered system that allowed a wide range of keys to be used.Despite strong family connections and a musically enthusiastic employer, tension built up between Bach and the authorities after several years in the post. Bach was dissatisfied with the standard of singers in the choir, while his employer was upset by his unauthorised absence from Arnstadt; Bach was gone for several months in 1705–06, to visit the great organist and composer Dieterich Buxtehude and his Abendmusiken at the Marienkirche in the northern city of Lübeck. The visit to Buxtehude involved a 400 kilometre (250 mi) journey on foot each way. The trip reinforced Buxtehude's style as a foundation for Bach's earlier works. Bach wanted to become amanuensis (assistant and successor) to Buxtehude, but did not want to marry his daughter, which was a condition for his appointment.[22]In 1706, Bach was offered a post as organist at St. Blasius's in Mühlhausen, which he took up the following year. It included significantly higher remuneration, improved conditions, and a better choir. Four months after arriving at Mühlhausen, Bach married Maria Barbara Bach, his second cousin. They had seven children, four of whom survived to adulthood, including Wilhelm Friedemann Bach and Carl Philipp Emanuel Bach who both became important composers as well. Bach was able to convince the church and city government at Mühlhausen to fund an expensive renovation of the organ at St. Blasius's. Bach, in turn, wrote an elaborate, festive cantata—Gott ist mein König, BWV 71—for the inauguration of the new council in 1708. The council paid handsomely for its publication, and it was a major success.[17]Return to Weimar (1708–17)In 1708, Bach left Mühlhausen, returning to Weimar this time as organist and concertmaster at the ducal court, where he had an opportunity to work with a large, well-funded contingent of professional musicians.[17] Bach moved with his family into an apartment very close to the ducal palace. In the following year, their first child was born and Maria Barbara's elder, unmarried sister joined them. She remained to help run the household until her death in 1729.Bach's time in Weimar was the start of a sustained period of composing keyboard and orchestral works. He attained the proficiency and confidence to extend the prevailing structures and to include influences from abroad. He learned to write dramatic openings and employ the dynamic motor-rhythms and harmonic schemes found in the music of Italians such as Vivaldi, Corelli, and Torelli. Bach absorbed these stylistic aspects in part by transcribing Vivaldi's string and wind concertos for harpsichord and organ; many of these transcribed works are still played in concert often. Bach was particularly attracted to the Italian style in which one or more solo instruments alternate section-by-section with the full orchestra throughout a movement.[24]In Weimar, Bach continued to play and compose for the organ, and to perform concert music with the duke's ensemble.[17] He also began to write the preludes and fugues which were later assembled into his monumental work Das Wohltemperierte Clavier ("The Well-Tempered Clavier"—Clavier meaning clavichord or harpsichord),[25] consisting of two books, compiled in 1722 and 1744,[26] each containing a prelude and fugue in every major and minor key.Also in Weimar Bach started work on the Little Organ Book for his eldest son, Wilhelm Friedemann, containing traditional Lutheran chorales (hymn tunes) set in complex textures to train organists. In 1713 Bach was offered a post in Halle when he advised the authorities during a renovation by Christoph Cuntzius of the main organ in the west gallery of the Marktkirche Unser Lieben Frauen. Johann Kuhnau and Bach played again when it was inaugurated in 1716.[27][28] Musicologists debate whether his first Christmas cantata Christen, ätzet diesen Tag, BWV 63, was premiered here in 1713[29], or if it was performed for the bicentennial of the Reformation in 1717.[30] Bach eventually fell out of favour in Weimar and was, according to a translation of the court secretary's report, jailed for almost a month before being unfavourably dismissed:“On November 6, [1717], the quondam concertmaster and organist Bach was confined to the County Judge's place of detention for too stubbornly forcing the issue of his dismissal and finally on December 2 was freed from arrest with notice of his unfavourable discharge.[31]”Köthen (1717–23)Leopold, Prince of Anhalt-Köthen hired Bach to serve as his Kapellmeister (director of music) in 1717. Prince Leopold, himself a musician, appreciated Bach's talents, paid him well, and gave him considerable latitude in composing and performing. The prince was Calvinist and did not use elaborate music in his worship; accordingly, most of Bach's work from this period was secular,[32] including the Orchestral Suites, the Six Suites for Unaccompanied Cello, the Sonatas and Partitas for Solo Violin, and the Brandenburg Concertos.[33] Bach also composed secular cantatas for the court such as the Die Zeit, die Tag und Jahre macht, BWV 134a.Despite being born in the same year and only about 80 miles apart, Bach and Handel never met. In 1719 Bach made the 20 mile journey from Köthen to Halle with the intention of meeting Handel, however Handel had recently departed the city.[34] In 1730, Bach's son Friedmann travelled to Halle to invite Handel to visit the Bach family in Leipzig, however the visit did not eventuate.[35]On 7 July 1720, while Bach was abroad with Prince Leopold, Bach's first wife suddenly died. The following year, he met Anna Magdalena Wilcke, a young, highly gifted soprano 17 years younger than he was who performed at the court in Köthen; they married on 3 December 1721.[36] Together they had 13 more children, six of whom survived into adulthood: Gottfried Heinrich, Johann Christoph Friedrich, and Johann Christian, all of whom became significant musicians; Elisabeth Juliane Friederica (1726–81), who married Bach's pupil Johann Christoph Altnikol; Johanna Carolina (1737–81); and Regina Susanna (1742–1809).[37]Leipzig (1723–50)In 1723, Bach was appointed Cantor of the Thomasschule at Thomaskirche in Leipzig, and Director of Music in the principal churches in the town, namely the Nikolaikirche and the Paulinerkirche, the church of the University of Leipzig.[38] This was a prestigious post in the mercantile city in the Electorate of Saxony, which he held for 27 years until his death. It brought him into contact with the political machinations of his employer, Leipzig's city council.Bach was required to instruct the students of the Thomasschule in singing and to provide church music for the main churches in Leipzig. Bach was required to teach Latin, but he was allowed to employ a deputy to do this instead. A cantata was required for the church service on Sundays and additional church holidays during the liturgical year. He usually performed his own cantatas, most of which were composed during his first three years in Leipzig. The first of these was Die Elenden sollen essen, BWV 75, first performed in the Nikolaikirche on 30 May 1723, the first Sunday after Trinity. Bach collected his cantatas in annual cycles. Five are mentioned in obituaries, three are extant.[39] Most of these concerted works expound on the Gospel readings prescribed for every Sunday and feast day in the Lutheran year. Bach started a second annual cycle the first Sunday after Trinity of 1724, and composed only Chorale cantatas, each based on a single church hymn. These include O Ewigkeit, du Donnerwort, BWV 20, Wachet auf, ruft uns die Stimme, BWV 140, Nun komm, der Heiden Heiland, BWV 61, and Wie schön leuchtet der Morgenstern, BWV 1.Bach drew the soprano and alto choristers from the School, and the tenors and basses from the School and elsewhere in Leipzig. Performing at weddings and funerals provided extra income for these groups; it was probably for this purpose, and for in-school training, that he wrote at least six motets, at least five of which are for double choir.[40] As part of his regular church work, he performed other composers' motets, which served as formal models for his own.[17]Bach broadened his composing and performing beyond the liturgy by taking over, in March 1729, the directorship of the Collegium Musicum, a secular performance ensemble started by the composer Georg Philipp Telemann. This was one of the dozens of private societies in the major German-speaking cities that was established by musically active university students; these societies had become increasingly important in public musical life and were typically led by the most prominent professionals in a city. In the words of Christoph Wolff, assuming the directorship was a shrewd move that "consolidated Bach's firm grip on Leipzig's principal musical institutions".[41] Year round, the Leipzig's Collegium Musicum performed regularly in venues such as the Zimmermannsches Caffeehaus, a Coffeehouse on Catherine Street off the main market square. Many of Bach's works during the 1730s and 1740s were written for and performed by the Collegium Musicum; among these were parts of his Clavier-Übung (Keyboard Practice) and many of his violin and harpsichord concertos.[17]In 1733, Bach composed the Kyrie and Gloria of the Mass in B minor. He presented the manuscript to the King of Poland, Grand Duke of Lithuania and Elector of Saxony, August III in an eventually successful bid to persuade the monarch to appoint him as Royal Court Composer.[4] He later extended this work into a full Mass, by adding a Credo, Sanctus and Agnus Dei, the music for which was almost wholly taken from his own cantatas. Bach's appointment as court composer was part of his long-term struggle to achieve greater bargaining power with the Leipzig Council. Although the complete mass was probably never performed during the composer's lifetime,[42] it is considered to be among the greatest choral works of all time. Between 1737 and 1739, Bach's former pupil Carl Gotthelf Gerlach took over the directorship of the Collegium Musicum.In 1747, Bach visited the court of the King of Prussia in Potsdam. There the king played a theme for Bach and challenged him to improvise a fugue based on his theme. Bach improvised a three-part fugue on Frederick's pianoforte, then a novelty, and later presented the king with a Musical Offering which consists of fugues, canons and a trio based on this theme. Its six-part fugue includes a slightly altered subject more suitable for extensive elaboration. Bach wrote another fugue, The Art of Fugue, shortly before his death, but never completed the final fugue. It consists of 18 complex fugues and canons based on a simple theme.[43] It was only published posthumously in 1751.[44]The final work Bach completed was a chorale prelude for organ, entitled Vor deinen Thron tret ich hiermit (Before thy throne I now appear, BWV 668a) which he dictated to his son-in-law, Johann Altnikol, from his deathbed. When the notes on the three staves of the final cadence are counted and mapped onto the Roman alphabet, the initials "JSB" are found.[45]Death (1750)Bach's health declined in 1749; on 2 June, Heinrich von Brühl wrote to one of the Leipzig burgomasters to request that his music director, Gottlob Harrer, fill the Thomascantor and Director musices posts "upon the eventual ... decease of Mr. Bach."[29] Bach became increasingly blind, so the British eye surgeon John Taylor operated on Bach while visiting Leipzig in March or April of 1750.[46]On 28 July 1750 Bach died at the age of 65. A contemporary newspaper reported "the unhappy consequences of the very unsuccessful eye operation" as the cause of death.[47] Modern historians speculate that the cause of death was a stroke complicated by pneumonia.[6][7][8] His son Emanuel and his pupil Johann Friedrich Agricola wrote an obituary of Bach.[48]Bach's estate included five Clavecins, two lute-harpsichords, three violins, three violas, two cellos, a viola da gamba, a lute and a spinet, and 52 "sacred books", including books by Martin Luther and Josephus.[49] He was originally buried at Old St. John's Cemetery in Leipzig. His grave went unmarked for nearly 150 years. In 1894 his coffin was finally found and moved to a vault in St. John's Church. This building was destroyed by Allied bombing during World War II, so in 1950 Bach's remains were taken to their present grave at Leipzig's Church of St. Thomas.[17]LegacyA detailed obituary of Bach was published (without attribution) four years later in 1754 by Lorenz Christoph Mizler (a former student) in Musikalische Bibliothek, a music periodical. The obituary remains probably "the richest and most trustworthy"[50] early source document about Bach. After his death, Bach's reputation as a composer at first declined; his work was regarded as old-fashioned compared to the emerging classical style.[51] Initially he was remembered more as a player and teacher.During the late eighteenth and early nineteenth century, Bach was widely recognised for his keyboard work. Mozart, Beethoven, Chopin, Robert Schumann, and Felix Mendelssohn were among his most prominent admirers; they began writing in a more contrapuntal style after being exposed to Bach's music.[52] Beethoven described him as the "Urvater der Harmonie", "original father of harmony".[53]Bach's reputation among the wider public was enhanced in part by Johann Nikolaus Forkel's 1802 biography of Bach.[54] Felix Mendelssohn significantly contributed to the revival of Bach's reputation with his 1829 Berlin performance of the St Matthew Passion.[55] In 1850, the Bach Gesellschaft (Bach Society) was founded to promote the works; in 1899 the Society published a comprehensive edition of the composer's works with little editorial intervention.During the 20th century, the process of recognising the musical as well as the pedagogic value of some of the works continued, perhaps most notably in the promotion of the Cello Suites by Pablo Casals, the first major performer to record these suites.[56] Another development has been the growth of the "authentic" or "period performance" movement, which attempts to present music as the composer intended it. Examples include the playing of keyboard works on harpsichord rather than modern grand piano and the use of small choirs or single voices instead of the larger forces favoured by 19th- and early 20th-century performers.[57]Bach's music is frequently bracketed with the literature of William Shakespeare and the teachings of Isaac Newton.[58] In Germany, during the twentieth century, many streets were named and statues were erected in honour of Bach. His music features three times - more than any other composer - on the Voyager Golden Record, a phonograph record containing a broad sample of the images, common sounds, languages, and music of Earth, sent into outer space with the two Voyager probes.[59]WorksIn 1950, a thematic catalogue called Bach Werke Verzeichnis (Bach Works Catalogue) was compiled by Wolfgang Schmieder.[60] Schmieder largely followed the Bach Gesellschaft Ausgabe, a comprehensive edition of the composer's works that was produced between 1850 and 1905: BWV 1–224 are cantatas; BWV 225–249, large-scale choral works including his Passions; BWV 250–524, chorales and sacred songs; BWV 525–748, organ works; BWV 772–994, other keyboard works; BWV 995–1000, lute music; BWV 1001–40, chamber music; BWV 1041–71, orchestral music; and BWV 1072–1126, canons and fugues.[61]Organ worksBach was best known during his lifetime as an organist, organ consultant, and composer of organ works in both the traditional German free genres—such as preludes, fantasias, and toccatas—and stricter forms, such as chorale preludes and fugues.[17] At a young age, he established a reputation for his great creativity and ability to integrate foreign styles into his organ works. A decidedly North German influence was exerted by Georg Böhm, with whom Bach came into contact in Lüneburg, and Dieterich Buxtehude, whom the young organist visited in Lübeck in 1704 on an extended leave of absence from his job in Arnstadt. Around this time, Bach copied the works of numerous French and Italian composers to gain insights into their compositional languages, and later arranged violin concertos by Vivaldi and others for organ and harpsichord. During his most productive period (1708–14) he composed several pairs of preludes and fugues and toccatas and fugues, and the Orgelbüchlein ("Little organ book"), an unfinished collection of 46 short chorale preludes that demonstrates compositional techniques in the setting of chorale tunes. After leaving Weimar, Bach wrote less for organ, although his best-known works (the six trio sonatas, the "German Organ Mass" in Clavier-Übung III from 1739, and the "Great Eighteen" chorales, revised late in his life) were all composed after his leaving Weimar. Bach was extensively engaged later in his life in consulting on organ projects, testing newly built organs, and dedicating organs in afternoon recitals.[62][63]Other keyboard worksBach wrote many works for harpsichord, some of which may have been played on the clavichord. Many of his keyboard works are anthologies that encompass whole theoretical systems in an encyclopaedic fashion. • The Well-Tempered Clavier, Books 1 and 2 (BWV 846–893). Each book consists of a prelude and fugue in each of the 24 major and minor keys in chromatic order from C major to B minor (thus, the whole collection is often referred to as 'the 48'). "Well-tempered" in the title refers to the temperament (system of tuning); many temperaments before Bach's time were not flexible enough to allow compositions to utilise more than just a few keys.[64] • The 15 Inventions and 15 Sinfonias (BWV 772–801). These short two- and three-part contrapuntal works are arranged in the same chromatic order as the Well-Tempered Clavier, omitting some of the rarer keys. These pieces were intended by Bach for instructional purposes.[65] • Three collections of dance suites: the English Suites (BWV 806–811), the French Suites (BWV 812–817), and the Partitas for keyboard (BWV 825–830). Each collection contains six suites built on the standard model (Allemande–Courante–Sarabande–(optional movement)–Gigue). The English Suites closely follow the traditional model, adding a prelude before the allemande and including a single movement between the sarabande and the gigue.[66] The French Suites omit preludes, but have multiple movements between the sarabande and the gigue.[67] The partitas expand the model further with elaborate introductory movements and miscellaneous movements between the basic elements of the model.[68] • The Goldberg Variations (BWV 988), an aria with thirty variations. The collection has a complex and unconventional structure: the variations build on the bass line of the aria, rather than its melody, and musical canons are interpolated according to a grand plan. There are nine canons within the 30 variations, one every three variations between variations 3 and 27.[69] These variations move in order from canon at the unison to canon at the ninth. The first eight are in pairs (unison and octave, second and seventh, third and sixth, fourth and fifth). The ninth canon stands on its own due to compositional dissimilarities. • Miscellaneous pieces such as the Overture in the French Style (French Overture, BWV 831), Chromatic Fantasia and Fugue (BWV 903), and the Italian Concerto (BWV 971).Among Bach's lesser known keyboard works are seven toccatas (BWV 910–916), four duets (BWV 802–805), sonatas for keyboard (BWV 963–967), the Six Little Preludes (BWV 933–938), and the Aria variata alla maniera italiana (BWV 989).Orchestral and chamber musicBach wrote for single instruments, duets, and small ensembles. Many of his solo works, such as his six sonatas and partitas for violin (BWV 1001–1006), six cello suites (BWV 1007–1012) and Partita for solo flute (BWV 1013), are among the most profound works in the repertoire.[70] Bach composed a suite and several other works for solo lute. He wrote trio sonatas; solo sonatas (accompanied by continuo) for the flute and for the viola da gamba; and a large number of canons and ricercare, mostly with unspecified instrumentation. The most significant examples of the latter are contained in The Art of Fugue and The Musical Offering.Bach's best-known orchestral works are the Brandenburg Concertos, so named because he submitted them in the hope of gaining employment from Margrave Christian Ludwig of Brandenburg-Schwedt in 1721; his application was unsuccessful.[17] These works are examples of the concerto grosso genre. Other surviving works in the concerto form include two violin concertos (BWV 1041 and BWV 1042); a Concerto for Two Violins in D Minor (BWV 1043), often referred to as Bach's "double" concerto; and concertos for one to four harpsichords. It is widely accepted that many of the harpsichord concertos were not original works, but arrangements of his concertos for other instruments now lost.[71] A number of violin, oboe and flute concertos have been reconstructed from these. In addition to concertos, Bach wrote four orchestral suites, and a series of stylised dances for orchestra, each preceded by a French overture.[72]Vocal and choral worksCantatasAs the Thomaskantor, beginning mid of 1723, Bach performed a cantata each Sunday and feast day that corresponded to the lectionary readings of the week.[17] Although Bach performed cantatas by other composers, he composed at least three entire annual cycles of cantatas at Leipzig, in addition to those composed at Mühlhausen and Weimar.[17] In total he wrote more than 300 sacred cantatas, of which approximately 200 survive.[73]His cantatas vary greatly in form and instrumentation, including those for solo singers, single choruses, small instrumental groups, or grand orchestras. Many consist of a large opening chorus followed by one or more recitative-aria pairs for soloists (or duets) and a concluding chorale. The recitative is part of the corresponding Bible reading for the week and the aria is a contemporary reflection on it. The melody of the concluding chorale often appears as a cantus firmus in the opening movement. Among his best known cantatas are: • Christ lag in Todes Banden, BWV 4 • Ich hatte viel Bekümmernis, BWV 21 • Ein feste Burg ist unser Gott, BWV 80 • Gottes Zeit ist die allerbeste Zeit, BWV 106 (Actus Tragicus) • Wachet auf, ruft uns die Stimme, BWV 140 • Herz und Mund und Tat und Leben, BWV 147In addition, Bach wrote a number of secular cantatas, usually for civic events such as council inaugurations. These include wedding cantatas, the Wedding Quodlibet, the Peasant Cantata and the Coffee Cantata.[74]PassionsBach's large choral-orchestral works include the grand scale St Matthew Passion and St John Passion, both written for Good Friday vespers services at the Thomaskirche and the Nikolaikirche in alternate years, and the Christmas Oratorio (a set of six cantatas for use in the Liturgical season of Christmas).[75][76][77] The two versions of the Magnificat (one in E-flat major, with four interpolated Christmas-related movements, and the later and better-known version in D major), the Easter Oratorio, and the Ascension Oratorio are smaller and simpler than the Passions and the Christmas Oratorio.Mass in B minorMain article: Mass in B minorBach assembled his other large work, the Mass in B minor, near the end of his life, mostly from pieces composed earlier (such as the cantatas Gloria in excelsis Deo, BWV 191 and Weinen, Klagen, Sorgen, Zagen, BWV 12). The mass was never performed in full during Bach's lifetime.[78] All of these movements, unlike the six motets (Singet dem Herrn ein neues Lied; Der Geist hilft unser Schwachheit auf; Jesu, meine Freude; Fürchte dich nicht; Komm, Jesu, komm!; and Lobet den Herrn alle Heiden), have substantial solo parts as well as choruses.Musical styleBach's musical style arose from his skill in contrapuntal invention and motivic control, his flair for improvisation, his exposure to North and South German, Italian and French music, and his devotion to the Lutheran liturgy. His access to musicians, scores and instruments as a child and a young man and his emerging talent for writing tightly woven music of powerful sonority, allowed him to develop an eclectic, energetic musical style in which foreign influences were combined with an intensified version of the pre-existing German musical language. From the Period 1713-14 onward he learned much from the style of the Italians.[79]During the Baroque Period, many composers only wrote the framework, and performers embellished this framework with ornaments and other elaboration.[80] This practice varied considerably between the schools of European music; Bach notated most or all of the details of his melodic lines, leaving little for performers to interpolate. This accounted for his control over the dense contrapuntal textures that he favoured, and decreased leeway for spontaneous variation of musical lines. At the same time, Bach left the instrumentation of major works including The Art of Fugue open.[81]Bach's devout relationship with the Christian God in the Lutheran tradition[82] and the high demand for religious music of his times placed sacred music at the centre of his repertory. He taught Luther's Small Catechism as the Thomascantor in Leipzig,[83] and some of his pieces represent it;[84] the Lutheran chorale hymn tune was the basis of much of his work. He wrote more cogent, tightly integrated chorale preludes than most. The large-scale structure of some of Bach's sacred works is evidence of subtle, elaborate planning. For example, the St Matthew Passion illustrates the Passion with Bible text reflected in recitatives, arias, choruses, and chorales.[85] The structure of the Easter Oratorio, BWV 249, resembles The Crucifixion.[86]Bach's drive to display musical achievements was evident in his composition. He wrote much for the keyboard and led its elevation from continuo to solo instrument with harpsichord concertos and keyboard obbligato.[87] Virtuosity is a key element in other pieces, such as the Prelude and Fugue in E minor, BWV 548 for organ in which virtuosic passages are mapped onto alternating flute and reed solos within the fugal development.[88]Bach produced collections of movements that explored the range of artistic and technical possibilities inherent in various genres. The most famous example is the Well Tempered Clavier, in which each book presents a prelude and fugue in every major and minor key. Each fugue displays a variety of contrapuntal and fugal techniques.[89]PerformancesPresent-day Bach performers usually pursue one of two traditions: so-called "authentic performance practice", utilising historical techniques; or the use of modern instruments and playing techniques, often with larger ensembles. In Bach's time orchestras and choirs were usually smaller than those of later composers, and even Bach's most ambitious choral works, such as his Mass in B minor and Passions, were composed for relatively modest forces. Some of Bach's important chamber music does not indicate instrumentation, allows a greater variety of ensemble.Easy listening realisations of Bach's music and their use in advertising contributed greatly to Bach's popularisation in the second half of the twentieth century. Among these were the Swingle Singers' versions of Bach pieces that are now well-known (for instance, the Air on the G string, or the Wachet Auf chorale prelude) and Wendy Carlos's 1968 Switched-On Bach, which used the Moog electronic synthesiser. Jazz musicians have adopted Bach's music, with Jacques Loussier, Ian Anderson, Uri Caine and the Modern Jazz Quartet among those creating jazz versions of Bach works.[90]See also • List of fugal works by Johann Sebastian Bach • List of transcriptions of compositions by Johann Sebastian Bach • List of students of Johann Sebastian BachReferences 1. German pronunciation: [joˈhan] or [ˈjoːhan zeˈbastjan ˈbax] 1. ^ a b Christoph Wolff, Johann Sebastian Bach: The Learned Musician (New York: W.W. Norton and Company, Inc., 2000), 19. 2. ^ a b Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company. p. 46. ISBN 0-393-04825-X. 3. ^ a b "BACH Mass in B Minor BWV 232" . www.baroquemusic.org. Retrieved 21 February 2012. 4. ^ a b Russell H. Miles, Johann Sebastian Bach: An Introduction to His Life and Works (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1962), 86–87. 5. ^ a b Breitenfeld, Tomislav; Solter, Vesna Vargek; Breitenfeld, Darko; Zavoreo, Iris; Demarin, Vida (3 Jan. 2006). "Johann Sebastian Bach's Strokes" (PDF). Acta Clinica Croatica (Sisters of Charity Hospital) 45 (1). Retrieved 20 May 2008. 6. ^ a b Baer, Ka. (1956). "Johann Sebastian Bach (1685–1750) in medical history". Bulletin of the Medical Library Association (Medical Library Association) 39 (206). 7. ^ a b Breitenfeld, D.; Thaller V, Breitenfeld T, Golik-Gruber V, Pogorevc T, Zoričić Z, Grubišić F (2000). "The pathography of Bach's family". Alcoholism 36: 161–64. 8. Blanning, T. C. W.The triumph of music: the rise of composers, musicians and their art , 272: "And of course the greatest master of harmony and counterpoint of all time was Johann Sebastian Bach, 'the Homer of music' 9. Jones, Richard (2007). The Creative Development of Johann Sebastian Bach. Oxford University Press. p. 3. ISBN 0-19-816440-8. 1. "Lesson Plans" . Bach to School. The Bach Choir of Bethlehem. Retrieved 8 March 2012. 1. Malcolm Boyd, Bach (New York: Oxford University Press, 2000), 6 2. Printed in translation in The Bach Reader (ISBN 0-393-00259-4) 3. Malcolm Boyd, Bach (New York: Oxford University Press, 2000), 7–8. 4. Mendel et al (1998), 299 5. Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company. p. 45. ISBN 0-393-04825-X. 1. ^ a b c d e f g h i j k l m "Johann Sebastian Bach: a detailed informative biography" . baroquemusic.org. Retrieved 19 February 2012. 1. Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company
Les inédit de la BnF : Concert du 3 mai 2012. Pièces des XVIIe et XVIIIe siècles pour mandoline et clavecin par Florentino Calvo (mandoline) et Maria Lucia Borres (clavecin)
Les inédit de la BnF : Concert du 3 mai 2012. Pièces des XVIIe et XVIIIe siècles pour mandoline et clavecin par Florentino Calvo (mandoline) et Maria Lucia Borres (clavecin)
Baroque Nouveau's release of the 'Pieces de Clavecin en Concert' for Reference, and then a glimpse of Les Talens Lyrique's recording of opera overtures.
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