Podcasts about Jacques Loussier

Hoy ya nadie se rasga las vestiduras porque la llamada música clásica sea adaptada a otros esquemas musicales. Es más, muchos grandes intérpretes han conseguido que esas adaptaciones pasen a la historia por su creatividad. El programa se dedicará a explicar cuatro ejemplos: El gran pianista cubano, PEPE RIVERO, recreando piezas de CHOPIN, el compositor y pianista francés JACQUES LOUSSIER con sus adaptaciones de JUAN SEBASTIAN BACH, el histórico pianista, compositor y director DUKE ELLINGTON versionando al jazz el CASCANUECES de CHAIKOVSKY y SARAH WILLIS, trompa solista de la FILARMONICA DE BERLÍN, interpretando MOZART a ritmo de mambo.

Hoy ya nadie se rasga las vestiduras porque la llamada música clásica sea adaptada a otros esquemas musicales. Es más, muchos grandes intérpretes han conseguido que esas adaptaciones pasen a la historia por su creatividad. El programa se dedicará a explicar cuatro ejemplos: El gran pianista cubano, PEPE RIVERO, recreando piezas de CHOPIN, el compositor y pianista francés JACQUES LOUSSIER con sus adaptaciones de JUAN SEBASTIAN BACH, el histórico pianista, compositor y director DUKE ELLINGTON versionando al jazz el CASCANUECES de CHAIKOVSKY y SARAH WILLIS, trompa solista de la FILARMONICA DE BERLÍN, interpretando MOZART a ritmo de mambo.

Andy comes in too early with the crimes of Gérard Depardieu. Dan has the dirt on the labor day weekend traffic jam. Nam found bags of his dad's porn and guns.  All our guests have tv credits. try not 2 cum. Outro Track: “This lesser known banger is by Jacques Loussier. Eminem and Dr. Dre stole this melody, didn't attribute the original and got sued successfully, settling for an undisclosed amount of money. Enjoy this banger we just stole again from Jacque. we are broke so good luck suing us.” - DAN (wheelchair)         

“Jazz and classical music contaminations” - Il Barocco secondo Jacques Loussier George Frideric Handel (1685-1759) Jacques Loussier - Sarabande from Suite n. 11Jacques Loussier TrioJacques Loussier, pianoforteAndré Arpino, batteriaVincent Charbonnier, contrabbasso ******06:08Johan Sebastian Bach (1685-1750) Jacques Loussier – Variazioni Goldberg (1-9)Play Bach TrioJacques Loussier, pianofortePierre Michelot, contrabbassoChristian Garros, percussioni ******19:39Antonio Vivaldi (1678 – 1741) Jacques Loussier   from Le Quattro stagioni:Concerto n. 3 In fa Maggiore “L'Autunno”I. Allegro 23:35Concerto n. 2 in sol minore "l'Estate"III. PrestoJacques Loussier TrioJacques Loussier, pianoforteAndré Arpino, batteriaVincent Charbonnier, contrabbasso About Jacques Loussier About Jacques Loussier TrioQuesto podcast è stato prodotto per scopi esclusivamente didattici e per la diffusione della cultura musicale, senza fini di lucro. 

durée : 00:54:38 - Nuit Bach (3/7) : Badinerie - par : Corinne Schneider - La célèbre Badinerie sert de refrain à cette heure folâtre pleine de swing avec Claude Bolling (1961), Bill Evans (1966), Jacques Loussier (1998), Dave Brubeck (1998), Richard Galliano (2007), Abdoulaye Diabate (2014), Dimitri Naïditch (2019)… et une chanson sur Bach de Stone & Charden (1977) ! - réalisé par : Emmanuel Benito

durée : 01:58:39 - Le Bach du dimanche - par : Corinne Schneider - Au programme de cette 277e émission : « Bach to Swing » pour la dernière émission de l'année 2023 avec le Manhattan Jazz Orchestra, The Big Phat Band, le WDR Big Band, le Rias Big Band Berlin, Lalo Schifrin et Jacques Loussier ; et deux Cantates pour le Nouvel An (BWV 122 et 41) - réalisé par : Emmanuel Benito

Stan Getz; João Gilberto – Desafinado – 4:15 Rudi Brink – Bewitched – 3:20 Nat King Cole – L-O-V-E – 2:35 Oscar Peterson Trio – You Look Good To Me – 4:49 Diana Krall – Popsicle Toes – 4:27 Jacques Loussier; Vincent Charbonnier; André Arpino – Air on a G String – 3:35 Tatiana Eva-Marie; […]

Chillout Classic w Radio Spin #8 "BACH" Odkryjmy magię muzyki Jana Sebastiana Bacha. Poniższa playlista to bardzo okrojony i subiektywny wybór jego kompozycji, bo przecież muzyki pasującej do tej audycji jest bez liku. Na pewno pokłonie się jeszcze tej genialnej muzyce. Bacha można słuchać i słuchać a jego muzyka idealnie nadaje się na chillout w domowym zaciszu, z dala od zgiełku. Późna pora jest ku temu najlepszym czasem...no i oczywiście wygodny fotel 1. J.S. Bach - Aria z Wariacji Golbergowskich, Andras Schiff. 2. J.S. Bach - Toccata i fuga d-moll, BWV 565, aranżacja na orkiestrę Leopold Stokowski. 3. J.S Bach - Preludium i fuga C-dur, BWV 846, Glen Gould. 4. J.S Bach/C.Gounod - Ave Maria, Nigel Kennedy. 5. J.S. Bach - Sonata for Violin Solo a- moll, BWV 1003, Andante, Henryk Szeryng. 6. J.S. Bach - Cello Suite No. 1 G-dur, BWV 1007, Preludium, Yo-Yo Ma. 7. J.S. Bach - Concerto for 2 Violins d-moll, BWV 1043, Largo ma non tanto, Anne Sophie Mutter, Salvatore Accardo, English Chamber Orchestra. 8. J.S. Bach - Preludium i fuga c-moll, BWV 846, Vikingur Ólafsson. 9. J.S. Bach - Kantata BWV 115, Aria "Bete, betę aber auch dabei", Kathleen Battle, Itzhak Perlmann, Orchestra of St. Luke's, John Nelson. 10. J.S. Bach, Aria z Suity D-dur, Jacques Loussier.

durée : 01:58:43 - Le Bach du dimanche du dimanche 01 janvier 2023 - par : Corinne Schneider - Au programme de cette 233e émission : on fête l'année nouvelle en jazz en première heure avec Charl du Plessis, Edouard Ferlet, Jacques Loussier et les Slixs ; et avec le meilleur du baroque en deuxième heure à l'écoute de John Eliot Gardiner et Raphaël Pichon. Bonne année 2023 à toutes et à tous ! - réalisé par : Anne-Lise Assada

La quantité est-elle forcément opposée à l'exigence de qualité en musique ? Qui était Quinault, Philippe Quinault, à la fois immortel et valet de chambre ? Vous saurez tout sur les grandes querelles qui émaillent l'histoire de l'opéra : si votre enfant traite son copain de “bouffon”, il fait référence à une fameuse querelle musicale au XVIIIe siècle ! Et vous saurez pourquoi les Quatre Saisons de Vivaldi est le plus grand tube de toute la musique. Baroque en stock, un podcast de Radio Classique et des Talens Lyriques. Retrouvez tous les épisodes sur radioclassique.fr ou sur vos plateformes habituelles.  Références musicales Couperin, Quatrième livre de pièces de clavecin, 21e ordre, Christophe Rousset (clavecin)  Lully, Roland, “Roland, il faut armer votre invincible bras”, finale de l'acte V, Delphine Gillot (dessus), Les Talens Lyriques, Christophe Rousset (dir.)  Lully, Atys, ouverture, Les Arts Florissants, William Christie (dir.)  Lully, Amadis, grand chœur, fin de l'acte V, Chœur de chambre de Namur, Les Talens Lyriques, Christophe Rousset (dir.)  Pergolese, La Servante Maîtresse, I Virtuosi di Roma, Renato Fasano (dir.)  Lully, Armide, “Enfin il est en ma puissance”, acte II scène 5, Véronique Gens (soprano), Les Talens Lyriques, Christophe Rousset (dir.)  Rameau, Hippolyte et Aricie, acte I scène 2, Mark Padmore (ténor) et Anna-Maria Panzarella (soprano), Les Arts Florissants, William Christie (dir.)  Rameau, Hippolyte et Aricie, Le trio des Parques, Les Musiciens du Louvre, Marc Minkowski (dir.)   Piccinni, Didon, “Non ce n'est plus moi”, Véronique Gens (soprano), Les Talens Lyriques, Christophe Rousset (dir.)  Vivaldi, Les Quatre Saisons, Le Printemps, 1er mouvement, remix avec I Musici di Roma, puis Lucie Horsch (flûte à bec), trio Jacques Loussier, Lena Garcia et enfin Janine Jansen (violon) and friends  Vivaldi, Les Quatre Saisons, L'Automne, finale, Europa Galante, Fabio Biondi (violon et dir.)  Vivaldi, Les Quatre Saisons, L'Été, finale, Double Sens, Nemanja Radulovic (violon et dir.)    Réalisation : Lucile Metz Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Hace dos años fallecía el compositor y pianista francés JACQUES LOUSSIER, que apadrinó en la historia de la música el movimiento conocido como TERCERA CORRIENTE. Desde entonces la industria discográfica reedita casi todas sus discos, especialmente todos sus trabajos dedicados a dar una visión más actual de Bach y los clásicos. El programa estará dedicado a recordar la figura de aquel músico y escuchar, de forma didáctica, sus mejores grabaciones.

Hace dos años fallecía el compositor y pianista francés JACQUES LOUSSIER, que apadrinó en la historia de la música el movimiento conocido como TERCERA CORRIENTE. Desde entonces la industria discográfica reedita casi todas sus discos, especialmente todos sus trabajos dedicados a dar una visión más actual de Bach y los clásicos. El programa estará dedicado a recordar la figura de aquel músico y escuchar, de forma didáctica, sus mejores grabaciones.

Bienvenidos amantes de la música, la propuesta de este episodio es música de Bach reinventada y reinterpretada en Jazz. Jacques Loussier es el artífice de esta mezcla que tiene antecedentes en el Jazz como Modern Jazz Quartet pero que en el "Play Bach Trío" encuentra un representante destacado de la llamada "Tercera Corriente" (Third Stream) Les invitamos a disfrutar de la creatividad de este pianista y compositor francés. Los temas son: 1. Variaciones Golberg: Aria (Tema de inicio) 2. Variaciones Golberg: Variación 1 (Tema de inicio) 3. Variaciones Golberg: Variación 2 4. Variaciones Golberg: Variación 3 5. Variaciones Golberg: Variación 4 6. Variaciones Golberg: Variación 5 7. Variaciones Golberg: Variación 6 8. Variaciones Golberg: Variación 7 9. Concierto de Brandenburgo 5. Allegro *Suscríbete a nuestro canal. Si ya lo has hecho, considera apoyarnos en Patreon como mecenas para hacer sustentable nuestro programa y mantener nuestro viaje en vuelo. (Podrás acceder a episodios adelantados y exclusivos) patreon.com/ViajeJazz?fan_landing=true *Ayúdanos con un Me gusta, Comparte y Comenta. * En viajealmundodeljazz.com encuentra un reproductor de Jazz Moderno y Jazz Clásico.

durée : 01:58:29 - Le Bach du dimanche du dimanche 28 août 2022 - par : Corinne Schneider - Une première heure 100% jazz avec Iñaki Salvador & Alexis Delgado, Paolo Fresu, Uri Caine, Edouard Ferlet, Oscar Peterson, Philippe Duchemin, Jacques Loussier, Paul Lay ; puis en deuxième heure un « Bach symphonique » (émission n° 199, première diffusion le 13 mars 2022) - réalisé par : Emmanuel Benito

Ambition can be a great thing in jazz  - emphasis on the "can."  We look at a mixed bag of releases experimenting with third stream music, Bach, and other elements.  The results, like the music itself, are mixed.   Still, our guess is that you haven't heard about at least one of these artists yet, and maybe not all four.  Jacques Loussier – PLAY BACH AT THE THEATRE CHAMPS-ÉLYSÉES;  Sasha Berliner – ONYX;  Rolf & Joachim Kuhn – IMPRESSIONS OF NEW YORK; Mike Holober – DON'T LET GO.

Итоги года по версии Spotify, Apple Music и Яндекс.Музыки: почувствуйте разницу. Пятёрку самых прослушиваемых артистов Spotify составили: рэпер из Пуэрто-Рико Бэд Банни (Bad Bunny), американская звезда поп-кантри Тэйлор Свифт (Taylor Swift), южно-корейский бой-бэнд BTS, американский рэпер Drake и канадский поп-исполнитель Джастин Бибер (Justin Bieber), который, кстати, в августе этого года поставил рекорд на платформе по количеству стримов за один месяц. Интересно, что никого, кроме Бибера, из этих артистов нет в рейтинге отдельных треков, получивших за год наибольшее количество прослушиваний. В песенном рейтинге первое место занимает "Drivers License", песня, принесшая статус мировой поп-сенсации 18-летней Оливии Родриго (Olivia Rodrigo). Другая её композиция - "Good 4 U" - заняла четвёртое место. На втором - "Montero (Call Me By Your Name)", которую записал молодой американский рэпер Лил Нас Экс (Lil Nas X), на третьем - совместная запись Джастина Бибера и певца-рэпера The Kid Laroi под названием "Stay". Пятую строчку заняла песня британской певицы Дуа Липы (Dua Lipa) и американского рэпера DaBaby "Levitating". Дебютный альбом Оливии Родриго "Sour", который Billboard и Rolling Stone назвали лучшим альбомом года, занял первое место в годовом рейтинге Spotify. На втором месте оказался LP "Future Nostalgia" Дуа Липы, на третьем - "Justice" Джастина Бибера. Четвёртое место досталось альбому "=" Эда Ширана (Ed Sheeran), а на пятом - пластинка "Planet" молодой R'n'B-певицы Doja Cat. Spotify также опубликовал отдельный рейтинг "винтажных" альбомов, выпущенных более 20 лет назад. На первом месте оказался "Rumours" за авторством Fleetwood Mac, на втором - запись Nirvana "Nevermind", на третьем - "Hybrid Theory" Linkin Park, четвёртое место досталось "Appetite for Destruction" Guns N' Roses, пятое - "The Beatles", собственно, The Beatles. Рейтинг самых популярных подкастов выглядит так: The Joe Rogan Experience Call Her Daddy Crime Junkie TED Talks Daily The Daily Рейтинг Apple Music выглядит заметно иначе. Пятёрку самых популярных песен года составили "Dynamite" BTS, уже знакомая "Drivers License" Оливии Родриго, "Positions" Арианы Гранде (Ariana Grande), "For The Night", записанная Pop Smoke при участии Лил Бейби (Lil Baby) и ДаБейби, а на пятом месте обоснавалась "Blinding Lights" The Weeknd. Топовые песни Spotify, за вычетом "Drivers License", в рейтинге Apple Music в первую пятёрку не попали. Рейтинг Apple Music включает только отдельные композиции (подборки топовых альбомов нет), зато указаны песни, тексты к которым читали чаще всего: это "Drivers License" Оливии Родриго, её же "Good 4 U", "Dried Flower" в исполнении японского поп-певца Юури (Yuuri), боевик BTS "Dynamite" и песня "Kiss Me More" Doja Cat, записанная вместе с рэп-исполнительницей SZA. Наибольшую популярность в качестве сопровождения спортивных тренировок набрали следующие композиции: "Head & Heart" Джоела Корри и Эмэникей (Joel Corry, MNEK) "Post Malone" Сэма Фелдта и РАНИ (Sam Feldt, RANI) "Levitating" Дуа Липы и ДаБейби "Ride It" за авторством Regard в ремиксе Dimitri Vegas & Like Mike vs Quintino" "Whoopty" за авторством CJ. Также в рейтинге Apple приводятся композиции, которые чаще всего искали через сервис Shazam: "Astronaut In The Ocean" - Masked Wolf "Save Your Tears" - The Weeknd "Bad Habits" - Ed Sheeran "Drivers License" - Olivia Rodrigo "Beggin" - Måneskin Рейтинг Яндекс.Музыки был опубликован в виде пресс-релиза. В нём указывается, что чаще всего российские пользователи сервиса в этом году слушали российско-украинскую поп-певицу Мари Краймбрери и рэпера Моргенштерна. Самой прослушиваемой песней года стал трек "Птичка" рэп-дуэта HammAli & Navai. Самым быстрорастущим по прослушиваниям артистом оказалась тиктокерша GUMA с хитом "Стеклянная". Прорывом года Яндекс.Музыка признал группу Måneskin. Самым популярным подкастом стал проект Мари Новосад о сексуальности и отношениях "Секс с Мари 18+". Стоит добавить, что и Spotify в этом году поделился отдельным рейтингом предпочтений российских пользователей. Как выяснилось, пять верхних позиций наиболее популярных исполнителей занимают российские рэперы во главе с Моргенштерном. На втором месте - Скриптонит, на третьем - Kizaru, на четвёртом - дуэт Miyagi & Andy Panda, на пятом - Big Baby Tape. Рэп-композиции также оккупировали топ-3 русского Spotify: "Cristal & МОЁТ" - Моргенштерн, "Дежавю" - Kizaru, "Патрон" - Miyagi & Andy Panda. Рэп также доминирует и в альбомном рейтинге, хотя туда просочился альбом победителей "Евровидения", итальянцев Måneskin - "Teatro d'ira - Vol. I". Платформа Beatport официально запустилась в России и СНГ. Самый крупный музыкальный сервис электронной музыки официально объявил о запуске в России и странах ближнего зарубежья — Beatport планирует активное участие в развитии локальной электронной сцены, поддержку лейблов и артистов, организацию образовательных мероприятий. Вместе с запуском русскоязычным пользователям стали доступнее функции платформы — сайт Beatport и Beatport LINK переведены на русский язык. Помимо этого, Beatport объявил о запуске официальных социальных сетей для русскоязычной аудитории — Telegram-канала и чата Beatport Russia, сообщества VK Beatport Russia. С помощью социальных сетей пользователи могут взаимодействовать, обмениваться опытом, узнавать о партнерских проектах и мероприятиях, а также задавать вопросы в службу поддержки об экосистеме Beatport. Beatport видит большой потенциал в русскоязычной электронной сцене. В планы компании на ближайший год входят запуск партнерских программ для стимулирования творчества среди диджеев разного уровня, организация образовательных мероприятий, мастер-классов и шоукейсов, поддержка перспективных молодых диджеев из разных уголков России и СНГ. Виртуальный лягушонок Crazy Frog вернулся в эфир с новым синглом "Tricky". Виртуальный герой миллениума Crazy Frog вернулся в эфир с новым синглом "Tricky". Как и большинство работ Лягушонка, это мэшап с участием вокодера. Он представляет собой EDM-переработку классического трека Run DMC "It's Tricky", сэмпла рэп-исполнительницы Millie B "M to the B", плюс знаменитое "дребезжание". В клипе на сингл ролике лягушонок пробирается на космодром и угоняет ракету. В описании видео называется “Bezos-Musk ego trip” - намек на отношение авторов к космическому туризму. Это первый сингл Crazy Frog за 12 лет. Персонаж, известный своим "дрынь-дрынь", был придуман производящей рингтоны компанией Jamba! в 2005 году и начал самостоятельную жизнь в качестве мема. Его ремикс песни "Axel F" Beverly Hills Cop занял первые строчки чартов. Среди других хитов Crazy Frog, вышедших с 2005 по 2009 год, - "Popcorn", "Crazy Frog In the House", "Jingle Bells", "Cha Cha Slide" и другие. В 2021 году, учитывая снижение скачивания рингтонов, лягушка была переработана, чтобы понравиться аудитории TikTok. Одновременно Crazy Frog выпускает собственную коллекцию NFT - она появится на Metabeats 23 декабря. Брэд Питт возродит легендарную звукозаписывающую студию. Голливудский актер Брэд Питт возвращает к жизни легендарную звукозаписывающую площадку Miraval Studios. Партнёром Питта стал его давний друг Дамьен Куинтар (Damien Quintard) - звукорежиссер, обладатель премии "Эмми" и основатель The Mono Company & Sound X, Вместе они собираются отреставрировать и заново открыть для работы знаменитую студию, в которой записывались Pink Floyd, Стинг, Cranberries, Sade, The Cure и другие известные музыканты. Брэд и Дэмьен провели в Париже рабочую встречу, на которой обсуждали совместные планы. Звёзды завели Инстаграм-аккаунт студии и опубликовали анонс о начале совместного бизнеса. Студия Miraval расположена на территории поместья Питта и Анджелины Джоли Chateau Miraval, известном своими виноградниками. Она была построена в 1977 году бывшим владельцем - французским пианистом и композитором Жаком Лусье (Jacques Loussier) Помещение в последние годы не использовалось, и студия стояла заброшенной. Питт нашел ее, пришел в восторг и решил восстановить бизнес. - Здесь замечательная естественная реверберация, и можно записывать голоса или инструменты в любом месте студии, - говорит Куинтар. - Это действительно место, где вы можете продюсировать всё: от поп-музыки и рока до хип-хопа и классики. Новая студия будет оснащена новейшим оборудованием, однако будут сохранены и некоторые раритеты. К помещению примыкает жилой дом, в котором музыканты могут остановиться на время работы. Питт также преддожит гостям доступ к бассейну и кухню от своих шеф-поваров. Забронировать студию можно уже на лето 2022 года. Брэд Питт купил Chateau Miraval совместно с Анджелиной Джоли в 2012 году. Пара поженилась там в 2014-м. Боанжелина, как их зовут таблоиды, занимались винодельческим бизнесом во время брака и даже после расставания. Летом 2021 года Джоли попыталась продать свою часть бизнеса за ничтожную сумму, но адвокатам обеих сторон удалось временно урегулировать этот конфликт, хотя пока судебный процесс по этому делу продолжается.

Un gimmick imparable : C'est Pulsion de Jacques Loussier, un morceau nourri de Bach, de minimalisme et de funk robotique ! Mais qui était vraiment Loussier, pianiste et auteur des Play Bach qui ont fait son succès ? Réponse avec nos invités : la musicienne et productrice DeLaurentis, qui vient de relifter Pulsion pour une campagne de pub, et Thomas Enhco dont le dernier album s'intitule... Bach Mirror ! 

Episode #30: Jammin' at Zimmermann's Uploaded: September 18, 2021 All selections are by Johann Sebastian Bach and arranged by Jacques Loussier Play Bach No. 1 Prelude No. 1 [5:27] Fugue No. 1 [5:04] Prelude No. 2 [4:23] Fugue No. 2 [2:51] Toccata [8:56] Prelude No. 8 [4:58] Prelude No. 5 [1:56] Fugue No. 5 [1:54] Play Bach No. 2 Partita No. 1 in B flat Major: Allemande [6:19] Partita No. 1 in B flat Major: Courante [2:31] Partita No. 1 in B flat Major: Sarabande [2:59] Partita No. 1 in B flat Major: Menuet I [2:00] Partita No. 1 in B flat Major: Menuet II [1:59] Partita No. 1 in B flat Major: Gigue [3:10] Choral [4:12] Prelude No. 6 [2:10] Aria [3:28] Prelude No. 16 [2:59] Fugue No. 16 [2:48] Prelude No. 21 [2:52] Play Bach No. 3 Concerto Italien: Allegro [5:39] Concerto Italien: Andante [4:43] Concerto Italien: Finale [6:05] Inventions À Deux Voix No. 1 [2:24] Inventions À Deux Voix No. 2 [3:37] Inventions À Deux Voix No. 5 [2:48] Inventions À Deux Voix No. 8 [1:37] Inventions À Deux Voix No. 15 [1:17] Fantaisie Chromatique En Ut Mineur [5:11] Jacques Loussier trio: Jacques Loussier, piano Pierre Michelot, ‘bass Christian Garro, drums NOT NOW MUSIC NOT3CD256

durée : 01:59:15 - Une heure en ut mineur - par : Corinne Schneider - Une programmation toute nouvelle avec de la viole de gambe, du basson et de l'alto ; Magdalena Kozena, Vaclav Luks et Jacques Loussier ; le Gloria ZWV 30 et le Credo ZWV 32 de Jan Dismas Zelenka et une heure entière en ut mineur (émission n° 134 première diffusion le 11 octobre 2020). - réalisé par : Céline Parfenoff

Remember record stores? Remember the thrill of turning your friends on to new music by swapping vinyl and CDs? Yeah, we do too. That’s why we’re rebooting that tradition for the digital age with our “Crate Digging” podcast series, in which we’ll search through crates of our memories to bring you a handful of album recommendations on a given theme. It’s social media in the truest sense of the term: no algorithms, no computer-generated playlist. Just jazz fans sharing records with other jazz fans. You can listen to the podcast version via the player below. Write-ups of individual albums and sample tracks follow. Welcome to the party! For this episode of Crate Digging, we have chosen some of our favorite third stream albums! Albums included: Modern Jazz Quartet, Django (Prestige, 1956) Gunther Schuller, Jumpin' in the Future (GM, 1988) Jacques Loussier, Play Bach N.1 (Decca, 1959) Charles Mingus, The Black Saint and the Sinner Lady (Impulse!, 1963) André Hodeir, Jazz et Jazz (Fontana, 1959) Various Artists, The Birth of Third Stream (Columbia, 1996) Eric Dolphy, Out There (New Jazz, 1961) John Lewis, Jazz Abstractions (Atlantic, 1961) Franco Ambrosetti, Music for Symphony and Jazz Band (Enja, 1991) Joe Lovano, Rush Hour (Blue Note, 1994) --- Support this podcast: https://anchor.fm/jazziz/support

SUPPORT ME ON PATREON WATCH MUSIC is not a GENRE VIDEOS and MORE There's a frame of mind that insists that the connections between genres are tangential & theoretical at best. Of course, MUSIC is not a GENRE is out to debunk that myth. It's hard enough to battle that mindset in the popular realm – like how country people don't like hip hop or rock people don't like dance. Those boundaries are blurring more & more, thankfully, because of the mish-mosh that is the internet and especially because of young artists like Breland or Rina Sawayama, who don't see a reason to stay “pure”. When it comes to so-called “highbrow” music – a distinction I reject, by the way – the bias is even stronger. There seems to be a need for high minded people to cling to a false sense of purity in their chosen music. Lovers of classical – or more accurately orchestral – music tend to dismiss anything written from at least Stravinsky onward, if not before. Jazz heads are often so strict about what's considered jazz that they'll dismiss all but one or two sub-classifications. Like how Wynton Marsalis once claimed that if a song wasn't rooted in a blues structure then it's not jazz. There have been, and always will be, people who are open to blends & mashups & cross-pollination, and people who need very solid & high walls to keep out anything they feel doesn't fit. But if you're a true lover of MUSIC – the history & development, the taxonomy and Darwinian evolution – then you know that ALL WALLS ARE FALSE, and have been SINCE FOREVER. If jazz is defined by improv, then are rock guitar solos jazz? If classical is defined by a strict interpretation of written notes, then how do you reconcile the hard fact that Liszt and Chopin and Mozart and even Bach were all known for their dazzling improvisational skills? We think classical music was always set in stone because we only inherited the sheet music. SO not true. Jacques Loussier knew this, and his music is one of the greatest embodiments of the porous boundaries between jazz & classical. He was known for interpreting the works of Bach, Vivaldi, Satie and many others, adding lots of improv in with the familiar melodies, harmonies & rhythms. He was a French pianist whose melding of jazz & classical was known as “third stream”, a term that's been around since the 1950s. Even though these venerable works don't need a jolt of improv to make them great, the third stream approach brings them right into the present moment. It makes them feel like they're brand new. I've used classical & jazz elements in many of my songs, probably none more so than “Dream for Real”, based on Pachelbel's Canon in D. More recently, my band REC's song “Polymath” uses a harpsichord-like keyboard sound to weave in a couple of classical inspired passages. And then there are the pair of songs I did for the film Lock-Load-Love, which combine well-known classical pieces, jazz rhythms, and space sounds. They were heavily influenced by Loussier, with a little bit of Esquivel thrown in: REC – “Polymath” (from the album Syzygy for the Weird) “Classical Space-Jazz 1” (from the soundtrack to the film Lock-Load-Love) “Classical Space-Jazz 2” (from the soundtrack to the film Lock-Load-Love) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/nick-dematteo/support

durée : 01:28:34 - Jean Michel Ribes, auteur, metteur en scène, Directeur du Théâtre du Rond-Point - par : Priscille Lafitte - Metteur en scène, librettiste, écrivain, mais aussi acteur et réalisateur, Jean-Michel Ribes a plusieurs cordes à son arc théâtral. Sa partition musicale personnelle laisse une large place à Jacques Offenbach et à Verdi, mais aussi au jazz de Dave Brubeck et de Jacques Loussier. - réalisé par : Marie Grout

Il était une fois est une nouvelle émission d'ERFM. Cette petite émission musicale vous conte une histoire à sa manière. Matériel requis : enceintes haute fidélité, lumière tamisée, fauteuil club et verre de whisky. Bonne écoute ! Pour ce premier épisode, nous partons à la redécouverte du pianiste et compositeur français Jacques Loussier, né à Angers le 26 octobre 1934. Source: https://bit.ly/3spl2ub

Le vendredi, c'est le cinéma qui débarque sur l'antenne de Tsugi Radio. Un mix classé secret défense en compagnie de l'agent secret Pierce Bross-nan-Fromageau pour une heure de bandes originales sulfureuses. Tracklist : 

durée : 01:30:02 - Avec l'acteur Dominique Paturel (3 avril 1931) - par : Benoît Duteurtre - "Grande figure de la vie théâtrale depuis les années 50, Dominique Paturel a su conjuguer Jean Vilar et le Boulevard, mais aussi la radio, les séries télévisées, le doublage où il fut J.R. de Dallas. Fou de musique, il a croisé Léo Ferré, Jacques Loussier ou Duke Ellington..." Benoît Duteurtre - réalisé par : Christine Amado

Welcome to Live From Progzilla Towers Edition 355. In this special Guide To Keyboards In Prog edition we spoke to Andy Tillison and heard music by Rick Wakeman, Boston, The Peddlars, Yes, Van Der Graaf Generator, Snarky Puppy, Return To Forever, Genesis, Egg, Jacques Loussier, Deep Purple, It's A Beautiful Day, Dyble Longdon & The Tangent.

Jacques Loussier, Uri Caine'o, Billo Frisello klasikos perdirbiniai. Laidos autoriai ir vedėjai Šarūnas Nakas ir Mindaugas Urbaitis.

This is an interview with pianist/composer/arranger Brad Mehldau. Our conversation on May 12, 2020 spanned many diverse topics from what he is reading at the moment, what he keeps on his piano, when and how he practices, the connection between bebop and Bach, his favorite video game and more. Bach's Table of Ornaments: http://www.pennuto.com/music/jsb_ornm.htm Hear the music mentioned (in the order we mention it) here: https://open.spotify.com/playlist/5iP9EMbyCBoB6hEyK5waK4?si=ukZQ0wy2T62vjGImM_Okfw Read the literature from our discussion here: Book of Jeremiah: (New American Bible translation) http://www.vatican.va/archive/ENG0839/__PPE.HTM The Upanishads: https://en.wikipedia.org/wiki/Upanishads Doctor Faustus by Thomas Mann: https://en.wikipedia.org/wiki/Doctor_Faustus_(novel) Rilke, Letters to a Young Poet: https://en.wikipedia.org/wiki/Letters_to_a_Young_Poet George Bernard Shaw music criticism: https://www.abebooks.com/Shaws-Music-Complete-Musical-Criticism-Bernard/30253564275/bd Brad's favorite video game: https://en.wikipedia.org/wiki/Millipede_(video_game) Musicians/Bands mentioned (Alphabetically): Bach, Bartók, Beethoven, Brahms, Jon Brion, Wendy Carlos, Chopin, John Coltrane, Critters Buggin', Nick Drake, Fauré, Gershwin, Glenn Gould, Rodgers and Hammerstein, Haydn, Fred Hersch, Wynton Kelly, Jacques Loussier, Jerome Lowenthal, Lightning Bolt, Mahler, Mendelssohn, Mozart, Willie Nelson, Phineas Newborn, Emerson Lake and Palmer, Charlie Parker, Murray Perahia, Oscar Peterson, András Schiff, Schubert, Schumann, Wayne Shorter, Nina Simone, Art Tatum, Tom Waits, Ween.  -- Follow Evan on Instagram for interactive content: www.instagram.com/WTFBach Support us: https://www.patreon.com/wtfbach https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach   Suggestions? Want to sponsor an episode? Write us: bach@wtfbach.com

Un complément autour du Jazz avec un hommage à Jacques LOUSSIER

par Benoit Basirico Cinezik Radio sur Cinezik.fr [Avec en écoute notre podcast associé, conçu par Benoit Basirico en plein confinement]. Voici un panorama des musiques dans des films avec des personnages confinés chez eux. Face à ces espaces clos, les compositeurs peuvent élargir l'horizon avec une musique ample (les mélodies de Philippe Sarde pour "Le Chat", "La Grande Bouffe" ou "Le Locataire", le lyrisme de John Addison pour "Le Limier" ou celui de Gabriel Yared pour "Juste la fin du monde"), ou bien aggraver la situation avec un soutien à l'angoisse et à l'oppression (un air en spirale de Jacques Loussier dans "La Vie à l'Envers", la musique répétitive de Mychael Nyman sur "Monsieur Hire", l'horreur de Amenabar sur "Les Autres", le thriller de "Panic Room" traduit par Howard Shore, la paranoia de "Bug" transcrit par Brian Tyler), ou encore entretenir un lien avec le voisinage (le jazz de Franz Waxman dans "Fenêtre Sur Cour"). Programme : Fenêtre Sur Cour (1954) - Franz Waxman La Vie à l'Envers (1964) - Jacques Loussier Le Chat (1971) - Philippe Sarde La Grande Bouffe (1973) - Philippe Sarde Le Limier (1972) - John Addison Le Locataire (1976) - Philippe Sarde Monsieur Hire (1989) - Michael Nyman Les Autres (2001) - Alejandro Amenábar Panic Room (2002) - Howard Shore Bug (2007) - Brian Tyler Juste la fin du monde (2016) - Gabriel Yared

Moet er om glimlachen, toch wel erg leuk gedaan. De ‘Bach goes jazz’ van Jacques Loussier. Daarna het origineel maar wel op piano, en de versie door Janine Jansen. Hetzelfde stuk, maar dan geheel anders. Johann Sebastian Bach / Jacques Loussier Inventie nr.13, BWV.784 Jacques Loussier Trio Decca 1578922 3’33’’ Johann Sebastian Bach Inventie nr.13, BWV.784 Till Fellner, piano ECM Records 4766355 0’55’’ Johann Sebastian Bach Inventie nr.13, BWV.784 Janine Jansen, viool Maxim Rysanov, altviool DECCA 4759968 1’57’’

el pianista y compositor jacques loussier francés dedicó buena parte de su trayectoria a adaptar la música clásica al jazz en formato trío: desde Chopin a Debussy yJohann Sebastian Bach

Con Berta Herrero| Hoy Clásica 2.0 está dedicado a la obra más conocida de Vivaldi: Las cuatro estaciones. Un grupo de 4 conciertos para violín del compositor italiano Vivaldi que hoy escucharemos a través de diferentes versiones de Los canarios, Richter, Thomas Wilbrandt y Jacques Loussier. Una nueva forma de escuchar las famosísimas Cuatro estaciones que no te puedes perder.

Con Berta Herrero| Hoy Clásica 2.0 está dedicado a la obra más conocida de Vivaldi: Las cuatro estaciones. Un grupo de 4 conciertos para violín del compositor italiano Vivaldi que hoy escucharemos a través de diferentes versiones de Los canarios, Richter, Thomas Wilbrandt y Jacques Loussier. Una nueva forma de escuchar las famosísimas Cuatro estaciones que no te puedes perder.

Con Berta Herrero| Hoy Clásica 2.0 está dedicado a la obra más conocida de Vivaldi: Las cuatro estaciones. Un grupo de 4 conciertos para violín del compositor italiano Vivaldi que hoy escucharemos a través de diferentes versiones de Los canarios, Richter, Thomas Wilbrandt y Jacques Loussier. Una nueva forma de escuchar las famosísimas Cuatro estaciones que no te puedes perder.

   Episode 7 : conversation avec l’historien Gerard Noiriel, directeur d’Etudes à l’EHESS et auteur de « le venin dans la plume » (La Découverte), une comparaison entre les succès médiatiques d’Edouard Drumont et d’Eric Zemmour à 130 ans de distance. Le premier, auteur du pamphlet antisémite « La France Juive » est considéré comme le précurseur de l’antisémitisme politique des années 30. Il est le premier à avoir demandé l’exclusion des juifs de certaines professions, mesure qui sera prise par le gouvernement de Vichy. Le second est journaliste au Figaro et intervient régulièrement dans les débats organisés par les chaines de télévision d’information continue. Notamment CNEWS qui lui offre une tribune régulière. Son livre « le suicide français » est un best-seller. Il y défend la thèse du « grand remplacement » et estime que l’Islam veut coloniser l’Europe occidentale, et la France singulièrement. Ces deux pamphlétaires dont le succès a d’abord été modeste ont réussi à conquérir un public d’admirateurs inconditionnels grâce à une exposition médiatique hors norme. Auteur: Sylvain Attal Réalisation: Damien Someville Un podcast 2tal productions Droits réservés Invité: Gérard Noiriel, historien, directeur d’études à l’Ecole des Hautes Etudes en Sciences Sociales Oeuvres cités dans l’épisode :  Gérard Noiriel : « Le Venin dans la plume » (éditions de la Découverte), « Le creuset français, histoire de l’immigration » 1988 Le Seuil, « Le Massacre des Italiens - Aigues-Mortes, 17 août 1893 » Fayard 2010, « Une histoire populaire de la France » Agone, 2018, « Les gilets jaunes à la lumière de l’Histoire » Editions de l’Aube et Le Monde, 2019 Marc Bloch, « Apologie pour l’Histoire » Armand Colin, 1949. Réédité en 1993 et en 2018  Eric Zemmour : « Le suicide français » et « destin français », Albin Michel, « Mélancolie française », Fayard Arnaud Desplechin : « Roubaix, une lumière » Générique : Les temps Modernes (Charles Chaplin, United Artists) JS Bach par le trio Jacques Loussier

durée : 00:59:04 - Jacques Loussier - par : Benoît Duteurtre - "Compositeur et pianiste, Jacques Loussier était un surdoué de la musique qui s'emparait de tous les styles, de tous les genres, avec le même talent. Il nous as quittés malheureusement le 5 mars dernier, mais j'avais eu la joie de le recevoir..." Benoît Duteurtre - réalisé par : Christine Amado

durée : 01:55:45 - Arrangeurs en France (1/2) - par : Thierry Jousse - Une célébration de l'art unique des arrangeurs français en écho au livre de Serge Elhaïk, Les Arrangeurs de la chanson française (Textuel). Avec, en prime, quelques hommages à de grands disparus : Michel Legrand, Francis Lai, Jacques Loussier… - réalisé par : Yassine Bouzar

   Episode 5. Mateo Salvini caracole. Le vice-président du conseil italien et leader de la Ligue (ex ligue du nord) est l’homme fort du gouvernement Conte en place depuis un an. Sa popularité est énorme comme l’atteste le score que vient de réaliser son parti aux élections européennes (35%). Proche du RN de Marine Le Pen, du Hongrois Victor Orban, Salvini est classé sous l’étiquette « valise » « populiste ». Lui-même aime brouiller les pistes, même si son style rappelle parfois celui du Duce, il est sans doute trop simple de le considérer comme un héritier des fascistes. Dans ce cinquième épisode j’ai demandé à l’historien Marc Lazar, co-auteur avec le chercheur italien Ivo Diamanti de « peuplecratie » de nous parler la situation italienne et au-delà de ces populistes qui se présentent en champion de la démocratie. Une démocratie directe, immédiate, appuyée sur internet et les réseaux sociaux. C'est le 5ème épisode de ce podcast Auteur : Sylvain Attal Réalisation : Damien Someville Un podcast 2tal Productions Références : Peuplecratie par Marc Lazar et Ivo Diamanti, éditions Gallimard Extraits d’Envoyé Spécial (France 2), France 24, le journal, le débat de France 24, Gabriel Attal (LREM) aux les 4 vérités (France 2), l’invité de Jean-Jacques Bourdin (RMC) Jean Christophe Lagarde (secretaire général de l’UDI). Musique : Toto Cutigno, l’Italiano (1983) (T. Cutugno, C. Minellono) Générique : Les Temps Modernes (Charles Chaplin, United Artist) JS Bach par le trio Jacques Loussier. Soutenez Les Temps Modernes en lui donnant 5 étoiles et en laissant vos commentaires.

Ar įmanoma Mozarto Koncertą fortepijonui atlikti jazz‘o stiliuje? Kas sieja švedų cirko artistės Elvyros Madigan dramą su Mozarto muzika? Kaip pakito Mozarto kūryba jam tapus masonų ložės nariu? Apie tai – 31-je ciklo „Mozartas ir kiti“ laidoje, kurioje skamba Köchelio kataloge 465-467, 471 ir 477 numeriais pažymėti Mozarto kūriniai pianisto ir dirigento Danieliaus Barenboimo, prancūzo Jacques Loussier jazz‘o trio ir James Lasto pop-orkestro interpretacijose. Ved. Giedrius Kuprevičius.

Musique instrumentale et vocale du XX°S: l'intégration du JAZZ

"Air on the G String" - eine der beliebtesten Melodien der Musikgeschichte. Dabei ist dieser Hit gar kein eigenes Werk, sondern nur ein Satz aus Bachs Orchestersuite Nummer 3. Dominik Mercks fragt: Wo sind die anderen Sätze geblieben? Und was macht Bachs Air so unglaublich populär?

Pictured: Jacques Loussier Matthew Bannister on Mike Oliver, who was paralysed from the neck down after diving into a swimming pool as a teenager. He became the UK's first Professor of Disability Studies and transformed the debate about disabled people's rights. Jacques Loussier, the French pianist and composer best known for his jazz arrangements of the works of J.S. Bach. Professor Richard Lacey, the microbiologist who warned of the dangers to humans of mad cow disease. The Reverend Ruth Scott, the Anglican vicar known for her appearances on Radio 2's Pause for Thought and Radio 4's Thought for the Day. Interviewed guest: Colin Barnes Interviewed guest: Peter White Interviewed guest: Alyn Shipton Interviewed guest: Dr John Heritage Interviewed guest: The Reverend Chris Scott Producer: Neil George Archive clips from:

„Pakeliui su klasika“ prasideda Eugen Cicero aranžuota F. Mendelssohn „Pavasario daina“. Ją atlikę E. Cicero, J. Clayton ir B. Higgins trio laidą ir baigs. O pakeliui užsuksime pasiklausyti Johann Strauss-I sukurtų kūrinių, iš kurių žymiausias „Radeckio maršas“. Kitokio valso skambesio įneš Richard Strauss „Valsų siuita“ iš kompozitoriaus operos „Rožių kavalierius“. Prisiminsime mūsų operos primadonų ir grandų – Elenos Čiudakovos, Irenos Jasiūnaitės, Vaclovo Daunoro ir Virgilijaus Noreikos įrašytas nepamirštamas operos arijas. Ir laidai baigiantis mikrofoną perleisiu dar vienam džiazo pianistui ir kompozitoriui – Jacques Loussier. Ved. Audronė Kažukauskaitė.

Fyrst var djassárið 1959 rifjað upp með nokkrum dæmum. - Félagsbústaðir eru stærsti aðilinn í rekstri íbúðarhúsnæðis á Íslandi. Rekstrartekjur Félagsbústaða námu rúmum 4 milljörðum á síðasta ári og jukust um tæp 10 prósent vegna fjölgunar leiguíbúða. Félagsbústaðir leigja út tæplega 2600 íbúðir í Reykjavík. En hvert stefnir þetta fyrirtæki borgarbúa? Hver verður hlutdeild þess í að leysa húsnæðisvanda þeirra sem ekki geta staðið undir greiðslubyrði lána á næstu árum? Sigrún Árnadóttir, framkvæmdastjóri Félagsbústaða, var gestur Morgunvaktarinnar. - Á morgun verða atkvæði greidd í breska þinginu um útgöngusamning Theresu May við Evrópusambandið - ef úrslitin verða eins og nú liggur í loftinu, þ.e. hann verði felldur, þá verður atkvæðagreiðslan á morgun um það hvort Bretar eigi að fara úr sambandinu án samnings. Líklegt er samkomulagið verði fellt, meirihlutinn í þinginu er gegn því - og þá verður önnur atkvæðagreiðsla á fimmtudag um frestun útgöngu. Sigrún Davíðsdóttir sagði frá. Hún ræddi líka stórfjölgun hnífaárása í landinu. - Árið 1830 var líki suðurafrísks frumbyggja stolið úr gröf sinni og það stoppað upp af frönskum uppstoppara. Líkið var svo haft til sýnis á safni í Katalóníu um áratugaskeið þar til hávær mótmæli urðu loks til þess að maðurinn var endurgrafinn í Botswana árið 2000. Samkvæmt nýrri bók um málið var maðurinn þó grafinn á kolröngum stað, og gæti því þurft að fær hann og greftra í þriðja sinn. Vera Illugadóttir sagði þessa sögu. - Loks var sagt frá franska tónlistarmanninum Jacques Loussier, sem er nýlátinn. - Tónlist. Miles Davis - So what; Dave Brubeck-kvartettinn - Take Five; Horace Silver-kvintettinn - Blowin´the Blues Away; Jacques Loussier - Aría fyrir G-streng og Toccata í c-dúr eftir J.S.Bach.

Jacques Loussier einzuordnen fällt schwer. Immer wieder hat der französische Pianist neue, unkonventionelle Wege eingeschlagen. Sein Album "Play Bach" machte ihn 1959 schlagartig weltweit bekannt. Über sechs Millionen Mal wurden seine Platten seitdem verkauft. Jetzt ist der Pianist im Alter von 84 Jahren gestorben.

Passion Classique - Jacques Loussier Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Al programa d’aquesta setmana tenim un convidat de luxe, el Lluís Nutty, que ens ha preparat un programa especial dedicat als trens. Tracklist: – The Ethiopians “Engine 54” – Jacques Loussier “Dark of the sun” – Jackie Mitto “Dark of … Continua llegint →

Svečiuose – dainininkė Jomantė Šležaitė, šįvakar surengsianti lietuviškų dainų vakarą „Dešimt Lietuvių“ Kristupo vasaros festivalyje, Vilniaus Šv . Kotrynos bažnyčioje. Po to – keletas pianisto Vytauto Paukštelio baroko muzikos įrašų, o paskutinį pusvalandį melsimės vasarai su Antonio Vivaldi, Jacques Loussier ir Astoru Piazzola, kad tik ta vasara neišeitų, dar pabūtų.Ved. Jūratė Katinaitė.

Svečiuose – dainininkė Jomantė Šležaitė, šįvakar surengsianti lietuviškų dainų vakarą „Dešimt Lietuvių“ Kristupo vasaros festivalyje, Vilniaus Šv . Kotrynos bažnyčioje. Po to – keletas pianisto Vytauto Paukštelio baroko muzikos įrašų, o paskutinį pusvalandį melsimės vasarai su Antonio Vivaldi, Jacques Loussier ir Astoru Piazzola, kad tik ta vasara neišeitų, dar pabūtų.Ved. Jūratė Katinaitė.

Épisode 10. Le cinéma ça s'écoute aussi. Alors on s'installe confortablement et on lève le son car on va explorer des mondes silencieux.. en apparences (et on va éventuellement entendre des couleurs). On entend les sons de Maya Deren, Apichatpong Weerasethakul, Après Ski, Blade Runner, Under the Skin, Jacques Loussier, Philip Glass, Alessandro Alessandroni et bien plus..

Épisode 10. Le cinéma ça s'écoute aussi. Alors on s'installe confortablement et on lève le son car on va explorer des mondes silencieux.. en apparences (et on va éventuellement entendre des couleurs). On entend les sons de Maya Deren, Apichatpong Weerasethakul, Après Ski, Blade Runner, Under the Skin, Jacques Loussier, Philip Glass, Alessandro Alessandroni et bien plus..

Grandes trompetistas que presentan sus nuevos trabajos en esta edición de 'Club de Jazz' del 12 de abril de 2015. Jeremy Pelt firma "Tales, musings and other reveries" con Simona Premazzi (p), Ben Allison (cb) y dos bateristas, Billy Drummond y Victor Lewis. Daniel Cano debuta con "Don't touch the blue" junto a Pedro Cortejosa (sx), Paco Charlín (cb), Wilfried Wilde (gt) y Jesús Pazos (bt). Uno de los "padrinos" de Cano es Chris Kase, de quien recuperamos música de su magnífico "Six". Wadada Leo Smith se reúne en "Red hill" con Joe Morris (cb), Jamie Saft (p) y Balasz Pandi (bt) para una sesión de improvisación. También improvisada fue la reunión de grandes del jazz argentino que nos presenta Alberto Varela en el "Jazz Porteño" y que reunió en 2012 a músicos como el pianista Jorge Navarro o el trompetista Gustavo Bergalli. Y además de trompetistas, tiempo para el "Made in Chicago" que subió en esta ciudad sobre el escenario a Jack DeJohnette (bt), Henry Threadgill (sx y fl), Roscoe Mitchell (sx, fl y bass recorder), Muhal Richard Abrams (p) y Larry Gray (cb). Con Luis Díaz García swingueamos a Bach en el "Tren Azul" de la mano de Jacques Loussier y recuperamos el encuentro entre Max Roach y Clifford Brown (otro gra trompetista) en 1955.Y en "The New Standard" se divierte Jamie Saft con Steve Swallow (b) y Bobby Previte (bt). Toda la información y derechos: http://www.elclubdejazz.com

Grandes trompetistas que presentan sus nuevos trabajos en esta edición de 'Club de Jazz' del 12 de abril de 2015. Jeremy Pelt firma "Tales, musings and other reveries" con Simona Premazzi (p), Ben Allison (cb) y dos bateristas, Billy Drummond y Victor Lewis. Daniel Cano debuta con "Don't touch the blue" junto a Pedro Cortejosa (sx), Paco Charlín (cb), Wilfried Wilde (gt) y Jesús Pazos (bt). Uno de los "padrinos" de Cano es Chris Kase, de quien recuperamos música de su magnífico "Six". Wadada Leo Smith se reúne en "Red hill" con Joe Morris (cb), Jamie Saft (p) y Balasz Pandi (bt) para una sesión de improvisación. También improvisada fue la reunión de grandes del jazz argentino que nos presenta Alberto Varela en el "Jazz Porteño" y que reunió en 2012 a músicos como el pianista Jorge Navarro o el trompetista Gustavo Bergalli. Y además de trompetistas, tiempo para el "Made in Chicago" que subió en esta ciudad sobre el escenario a Jack DeJohnette (bt), Henry Threadgill (sx y fl), Roscoe Mitchell (sx, fl y bass recorder), Muhal Richard Abrams (p) y Larry Gray (cb). Con Luis Díaz García swingueamos a Bach en el "Tren Azul" de la mano de Jacques Loussier y recuperamos el encuentro entre Max Roach y Clifford Brown (otro gra trompetista) en 1955.Y en "The New Standard" se divierte Jamie Saft con Steve Swallow (b) y Bobby Previte (bt). Toda la información y derechos: http://www.elclubdejazz.com

El pianista Agustí Fernández se reúne en "Desmadre" con el clarinetista italiano Marco Colonna. En esta edición de "Club de Jazz" del 14 de mayo de 2014 escuchamos también el encuentro en "Moscow" entre el pianista Joachim Kühn y el saxofonista Alexey Kruglov. "desde mi cadiera" Jesús Moreno nos aproxima al nuevo trabajo del saxofonista portugués Rodrigo Amadao con su Wire Quartet. En "La duda permamente" Ferran Esteve llega con las "Mutations" de Vijay Iyer. En el "Jazz Porteño" de Alberto Varela recuperamos una vieja grabación del trío del pianista Gustavo Kerestezachi. En los "Ritmos Latinos" de Anxo, "a 306 km", nuevo trabajo de Caïm Riba. Y en el "Tren Azul" de Luis Díaz García, la música de Bach pasada por el filtro del trío del pianista Jacques Loussier. Toda la información y derechos: http://www.elclubdejazz.com

El pianista Agustí Fernández se reúne en "Desmadre" con el clarinetista italiano Marco Colonna. En esta edición de "Club de Jazz" del 14 de mayo de 2014 escuchamos también el encuentro en "Moscow" entre el pianista Joachim Kühn y el saxofonista Alexey Kruglov. "desde mi cadiera" Jesús Moreno nos aproxima al nuevo trabajo del saxofonista portugués Rodrigo Amadao con su Wire Quartet. En "La duda permamente" Ferran Esteve llega con las "Mutations" de Vijay Iyer. En el "Jazz Porteño" de Alberto Varela recuperamos una vieja grabación del trío del pianista Gustavo Kerestezachi. En los "Ritmos Latinos" de Anxo, "a 306 km", nuevo trabajo de Caïm Riba. Y en el "Tren Azul" de Luis Díaz García, la música de Bach pasada por el filtro del trío del pianista Jacques Loussier. Toda la información y derechos: http://www.elclubdejazz.com

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

Elina Duni vuelve su voz hacia la música albanesa de sus orígenes en "Matanë Malit". "La duda permanente" de Ferran Esteve nos presenta este trabajo en la edición de "Club de Jazz" del 3 de octubre de 2012. Nos acercamos a dos de los grupos del colectivo francés Coax: MeTaL-O-PHoNe y Radiation10. Recuperamos las "Impressions" musicales de Dave Liebman y Marc Copland en un encuentro de 2002 reeditado recientemente. Jesús Moreno rescata "desde mi cadiera" un clásico: "Machine Gun" de The Peter Brötzmann Octet. Los "Ritmos Latinos" de Anxo son los de Cesar´s Salad y su "The Latin Beat Vol.2". El "Jazz Porteño" de Alberto Varela incide en "Piazzola in Brooklyn and the rebith of Jazz Tango" de Pablo Aslan mientras Luis Díaz García conduce su "Tren Azul" al ritmo de "Bolero" de Ravel con el trío de Jacques Loussier. Toda la información y derechos: http://www.elclubdejazz.com

Elina Duni vuelve su voz hacia la música albanesa de sus orígenes en "Matanë Malit". "La duda permanente" de Ferran Esteve nos presenta este trabajo en la edición de "Club de Jazz" del 3 de octubre de 2012. Nos acercamos a dos de los grupos del colectivo francés Coax: MeTaL-O-PHoNe y Radiation10. Recuperamos las "Impressions" musicales de Dave Liebman y Marc Copland en un encuentro de 2002 reeditado recientemente. Jesús Moreno rescata "desde mi cadiera" un clásico: "Machine Gun" de The Peter Brötzmann Octet. Los "Ritmos Latinos" de Anxo son los de Cesar´s Salad y su "The Latin Beat Vol.2". El "Jazz Porteño" de Alberto Varela incide en "Piazzola in Brooklyn and the rebith of Jazz Tango" de Pablo Aslan mientras Luis Díaz García conduce su "Tren Azul" al ritmo de "Bolero" de Ravel con el trío de Jacques Loussier. Toda la información y derechos: http://www.elclubdejazz.com

The pianist Jacques Loussier has won fame and fortune with a style that blends jazz with the music of J S Bach. In conversation with Michael Parkinson, he looks back at a career of some 30 years, and also selects his eight records to take to the mythical island.[Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: Brandenburg Concerto No 3 in D Major by Johann Sebastian Bach Book: Beasts, Men and Gods by Ferdinand Ossendowski Luxury: Piano

The pianist Jacques Loussier has won fame and fortune with a style that blends jazz with the music of J S Bach. In conversation with Michael Parkinson, he looks back at a career of some 30 years, and also selects his eight records to take to the mythical island. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Brandenburg Concerto No 3 in D Major by Johann Sebastian Bach Book: Beasts, Men and Gods by Ferdinand Ossendowski Luxury: Piano

Roy Plomley's castaway is pianist Jacques Loussier. Favourite track: Come Thou, the World's Redeemer (Choral Prelude) by Johann Sebastian Bach Book: Men, Beasts and Gods by Ferdinand Ossendowski Luxury: Painting of the Crucifixion by Salvador Dali