Podcasts about french suite

Bach wrote this suite, one of a set of six, in the early 1720s, possibly as a wedding present for his second wife, Anna Magdalena. The collection later became known as the “French Suites”, but the name is misleading, given that each work contains movements inspired by dances from various national traditions. No. 5, for example, includes a German Allemande, a French Courante, a Spanish Sarabande, and an Irish/Scottish Gigue.Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

MÚSICA Johann Sebastian Bach - Sarabande from French Suite 2 BWV813 (CD) Daniel Estrem: Bach Harpsichord Suites on Guitar © Magnatune – www.magnatune.com -- AUTOR DOS TEXTOS Leonor Franco, aci -- LEITORES Luís Santos (pontos) Maria Helena Falé (textos bíblicos)

"The psychological effect of all this key-shifting, some jerky, some smooth, is very difficult to describe...perhaps it is the magic of Bach that he can write pieces with this kind of structure which have such a natural grace to them that we are not aware of exactly what is happening." In this episode we use these words by author Douglas Hofstadter to explore Bach's harmony as a deep stack of entangled and recursive structures. A moment from listener Santiago is the smallest of these stacked units, and we use it to zoom out.    French Suite no. 4 as played by harpsichordist Pierre Hantaï for the Netherlands Bach Society (the Allemande is first): https://www.youtube.com/watch?v=J2rQtGtxpOw

Synopsis In 1944, the French composer Darius Milhaud was in California, teaching at Mills College in California, and received a commission to write a piece suitable for school bands. With a world at war, the Jewish composer had found safe refuge in the U.S., and so eagerly accepted the commission for a number of reasons. Milhaud, confined to a wheelchair for most of his adult life, sent his wife Madaleine to the College library to obtain a collection of French folk tunes. His idea was arrange of some these into a suite. As the composer himself explained after his “Suite Française” was finished: “The five parts of [my] Suite are named after French Provinces, the very ones in which the American and Allied armies fought together with the French underground for the liberation of my country. I used some folk tunes of these Provinces, as I wanted the young American to hear the popular melodies of those parts of France where their fathers and brothers fought on behalf of the peaceful and democratic people of France." Milhaud's “Suite Française” was premiered by the Goldman Band in New York City on today's date in 1945, and rapidly became one of the best-known and most often performed of Milhaud's works, and one of the established classics of the wind-band repertory. Music Played in Today's Program Darius Milhaud (1892 - 1974) Suite Francaise (Eastman Wind Ensemble; Frederick Fennell, cond.) Mercury 289 434 399-2

Pianist/composer Craig Swanson joins us to talk about his fascinating project The French Suite Kit, which presents the music of Bach in a unique fashion – "played on the piano with variety enough to suit every taste." Swanson's version of Bach's so-called "French" suite includes several different interpretations of each movement, handing control over to the listener to assemble their own "definitive" version of the work.

The French Suites, BWV 812–817, are six suites which Johann Sebastian Bach wrote for keyboard between 1722-25. Although suites 1–4 are typically dated to 1722, it is possible that the first was written somewhat earlier. They were later given the name French. Likewise, the English Suites received a later appellation. The name was popularised by Bach's biographer Johann Nikolaus Forkel, who mentioned they were written in the French style. This, however, is inaccurate: like Bach's other suites, they follow a largely Italian convention. There is no surviving definitive manuscript of these suites, and ornamentation varies both in type and in degree across manuscripts. Some of the manuscripts that have come down to us are titled "Suites Pour Le Clavecin", which is what probably lead to the tradition of calling them "French" Suites.

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It seems that every minute of every day, a musician is playing Bach's music somewhere on our planet. Clemency Burton-Hill charts the playing of Bach across a day and around the globe with stories from musicians who each have a daily ritual of playing some of this music. Ilay Kenes is an 11-year-old Belgian boy who plays some Bach on his guitar every morning when he gets out of bed. Other musicians around the world who play Bach every morning include Masaaki Suzuki on the harpsichord or organ in Tokyo, Hungarian-born organist Xaver Varnus in his own church in Nova Scotia, pianist Grant McLachlan looking out at Table Mountain from his house in Cape Town and cellist Nicola Yamazaki in Austria. Some musicians play Bach every day but not at a set time. Iranian-born pianist Ramin Bahrami plays Bach whenever he needs him throughout the day. In one of Kenya's largest slums, David Joroge shares the cello he plays with other students at the Art of Music Foundation and so he plays Bach Cello Suites every day, at a time when there's a cello free. Finally, British viola player, Robin Ireland plays last thing at night before bed in his house in Brittany. Where did this daily ritual of playing Bach every day begin? Maybe with Beethoven or perhaps Mendelssohn. But it was the Catalan cellist Pablo Casals who wrote, "For the past 80 years I have started each day in the same manner. It is not a mechanical routine but something essential to my daily life. I go to the piano, and I play two preludes and fugues of Bach. I cannot think of doing otherwise. It is a sort of benediction on the house. Each day is something new, fantastic, unbelievable. That is Bach, like nature, a miracle!" Clemency herself either listened to or played Bach every day for as long as she can remember. But in January 2020 she experienced a brain haemorrhage, and everything changed. After emergency surgery, she was unconscious for 17 days and then slowly emerged. She's still working her way back to her own daily encounter with Bach's music. Producer: Rosie Boulton A Must Try Softer production for BBV Radio 4 Bach music played: Violinist Hilary Hahn: Adagio from Sonata No.3 in C major, BWV 1005 Guitarist Ilay Kenes: Prelude in E Major, BWV 1006a Organist Xaver Varnus: Double Fugue in C minor, BWV 582B Cellist Pablo Casals: Allemande from 1st Cello Suite in G major, BWV 1007 Pianist Grant McLachlan: Allemande from French Suite in G Major, BWV 816 Pianist Glenn Gould: Sarabande from Partita in C minor, BWV 826 Cellist David Joroge: Minuet from 1st Cello Suite in G major, BWV 1007 Violist Robin Ireland: Fugue from Violin Sonata in G minor (transcribed for viola) BWV 1001 Violinist Hilary Hahn: Adagio from Sonata No.3 in C major, BWV 1005

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Originally recorded in July 2006, featuring:1. Trevor Stephenson, harpsichordFrench Suite in B minor, BWV 814 by J. S. BachStudio recording available from www.trevorstephenson.com2. The San Francisco Composers Chamber Orchestra - December 2nd, 200Open Ended by Michael Cooke

Pianist/composer Craig Swanson joins us to talk about his fascinating project The French Suite Kit, which presents the music of Bach in a unique fashion – "played on the piano with variety enough to suit every taste." Swanson's version of Bach's so-called "French" suite includes several different interpretations of each movement, handing control over to the listener to assemble their own "definitive" version of the work.

Pianist Peter Dugan performs the Sarabande from the French Suite no. 5 in G major J.S. Bach

Pianist Peter Dugan performs the Sarabande from the French Suite no. 5 in G major J.S. Bach

Is cryptocurrency capitalist or socialist? Libertarian or liberal? Individualist or collectivist? Join me as we explore our tendency to box everything into categories – and why the decentralization revolution is too big to be boxed. *** Some songs are original improvisations, but two are me playing Sergei Rachmaninoff (Preludes 10 and 11, in B minor and B major, from his Op. 32 set of preludes), plus two public domain performances included of Gymnopedie no. 3 by Erik Satie and the Allemande from French Suite no. 2 by J.S. Bach. All songs used by permission. Theme song written and performed by Joseph Dickinson (audiojungle.net/user/jdmusic). --- Support this podcast: https://anchor.fm/bitgenstein/support

We compare a variety of solutions to performance challenges in Bach's first French suite among five albums, two using piano, three using harpsichord

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Celebrating 10 years of Music From 100 Years Ago; some of the host's favorite records from the first half of the 20th Century. Music selections include: Old Dan Tucker, Lover Man, French Suite #5, Stairway to the Stars, Shout For Joy, Searching the Desert For the Blues and Rose Room. Performers include: Thomas "Fats" Waller, Ella Fitzgerald, Charlie Parker, the Swift Jewel Cowboys, Albert Ammons, Louis Jordan, Bix Beiderbeck, Blind Willie McTell and Rudolf Serkin.

A program marking the 264th anniversary of J.S. Bach's death. Works include: Brandenburg Concerto #1, The Musical Offering, The St Matthew Passion, The French Suite #5 and Ich Habe Genug.  Performers include: Albert Schweitzer, Fritz Reiner, Walter Gieseking and Dietrich Fischer-Dieskau.