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Matias Saavedra Fierro - Artista Chileno / Musico . Cantante . Compositor
Compositor, instrumentista e arranjador Péricles Cavalcanti comemora 70 anos de vida em um show gratuito com canções de seus mais de 40 anos de carreira em São Paulo. 26.05.17
Mais em: rogeriostella.wordpress.com/2017/05/26/os-70-anos-de-peri...
Compositor, cantor, multi-instrumentista e escritor Humberto Gessinger apresenta sua nova turnê “Desde Aquele Dia – 30 anos A Revolta dos Dândis” em São Paulo. 27.05.17
Mais em: rogeriostella.wordpress.com/2017/05/28/humberto-gessinger...
Trompetista, compositor, arranjador e cantor cubano Jorge Ceruto mostra as composições do primeiro álbum solo de sua carreira, intitulado Mambo que Sambo – Vol.1, em São Paulo. 18.09.15
Mais em: rogeriostella.wordpress.com/2015/09/19/jorge-ceruto-y-su-...
Violoncelista, compositor e produtor musical, Federico Puppi faz show de pré-lançamento do primeiro disco solo, “O Canto da Madeira” em São Paulo. 03.06.15
Mais em: rogeriostella.wordpress.com/2015/06/04/o-canto-da-madeira...
Cantora, compositora e artista visual, não necessariamente nessa ordem. Mariana Degani sobe ao palco para o show de lançamento do primeiro disco solo de sua carreira, “Furtacor”, em São Paulo. 18.11.16
Mais em: rogeriostella.wordpress.com/2016/11/18/mariana-degani-apr...
Trompetista, compositor, arranjador e cantor cubano Jorge Ceruto mostra as composições do primeiro álbum solo de sua carreira, intitulado Mambo que Sambo – Vol.1, em São Paulo. 18.09.15
Mais em: rogeriostella.wordpress.com/2015/09/19/jorge-ceruto-y-su-...
www.youtube.com/watch?v=9t0FBQ3xeVA
Sibelius Monumentti (Monumento de Sibelius)
Es obra de la escultora Eila Hiltunen y está compuesto por cientos de tubos de acero que honran al famoso compositor finlandés Jean Sibelius (1865-1957). Sibelius se rebeló contra el régimen soviético y compuso piezas como "Finlandia", que ha pasado a ser sinónimo del patriotismo finlandés y la lucha por la independencia del país. La visita a este monumento es una especie de peregrinación para la mayoría de los finlandeses.
Sibelius Park, Töölö, entre Topeliuksenkatu y Mechelininkatu
Horario: Todos los días desde el amanecer hasta el atardecer.
Entrada: Gratis.
visita mi blogg:
68 years of membership 1918 to1985
London Society of Compositors
London Typograhical Society
National Graphical Association London Region
from the John Jarrold Printing Museum
Norwich, Norfolk, England, UK
"Allo stesso modo, il compositore ha un mondo immaginario che cerca di tradurre mediante modelli, consci o inconsci, noti o inediti; alla fine di questa traduzione, che è un atto molto intellettuale, scrive una partitura, nella quale riporta la trascrizione del concetto."
marco stroppa, compositore
"Dietro lo scalo ferroviario di Porta Genova, in uno stabile della Milano primo ‘900, Brunella e la figlia Roberta, si dedicano con passione agli spazi di famiglia che portano il nome di Galvanotecnica Bugatti, in memoria di un passato operoso nella galvanizzazione dei metalli e delle materie plastiche.
Lo spirito conservativo nel recupero architettonico, fortemente voluto da Brunella Barattini e realizzato con la consulenza artistica dell’architetto Luigi Caccia Dominioni, ha permesso di tramandare in tutta la sua forza l’anima industriale e insieme romantica del quadrilatero di via Bugatti e di farne un sito moderno, tra i più poliedrici e interessanti della scena urbana milanese. "
Música Argentina pianista acordeonista y compositora,que forma parte de de la escena musical Argentina contemporánea.He aquí algunos de sus trabajos mas significativos en el rock, ya que se presenta como pianista de música de cámara y como pianista solista también.
Discográfia
GRABACIONES:
Grabó como pianista, acordeonista, tecladista y/o compositora en los
CDS.:
1- -"Tren de Fugitivos" (El Soldado junto a los Redonditos de Ricota, 1997)
2- "Fuego Indio" (1998)
3- "Alas Rotas" (El Soldado, 1998)
4- "Jazz Bazar II" (Valentino-Patán Vidal, 1999)
5- "Tancredo Tango" (Tancredo, 2000)
6- "De Cardo y Clavel" (El Soldado, 2001)
7- "Belleza" (Juana la Loca, 2001)
8- “Buen día” (Intoxicados, 2001)
9- "El juego o la vida" (Responsables No Inscriptos, 2002)
10-"Gabinete de curiosidades" (Hilda Lizarazu, 2004)
11-"Un camino, algún lugar" (Me darás mil hijos, 2004)
12-“Inestables” (Los Tortorolos, 2005 Ex integrantes de Don Cornelio y la Zona y Los Visitantes.
13-“Inconsciente Colectivo” (Fabiana Cantilo, 2005)
14-“Margarita y Azucena” (Mariana Baraj, 2007)
15-“Hija del Rigor” (Fabiana Cantilo, 2007)
16-“Aire” (Me darás mil hijos, 2008)
17-”En la Vereda del Sol” (Fabiana Cantilo, 2009)
18-“La todo Mal Orquesta Volumen 2 (Junto a los músicos de Las Pelotas,La Portuaria, Los Redondos y La Doblada como invitados)
19-“Ahora”(Fabiana Cantilo, 2011)
Actualmente se presenta junto a Luciano Coniglio
Compositor, cantor, multi-instrumentista e escritor Humberto Gessinger apresenta sua nova turnê “Desde Aquele Dia – 30 anos A Revolta dos Dândis” em São Paulo. 27.05.17
Mais em: rogeriostella.wordpress.com/2017/05/28/humberto-gessinger...
Aleksander Porfírievich Borodín (en ruso, Александр Порфирьевич Бородин; San Petersburgo, Imperio ruso, 12 de noviembre de 1833 – ibídem, 27 de febrero de 1887) fue un compositor, doctor y químico, destacado dentro de los compositores del nacionalismo ruso, también conocido por formar parte del Grupo de los cinco.
Borodín es conocido por sus sinfonías, sus dos cuartetos de cuerda, En las estepas de Asia Central y su ópera El príncipe Ígor. Fue un prominente defensor de los derechos de las mujeres, de la educación en Rusia y fundó la Escuela de medicina para mujeres en San Petersburgo.
Fue hijo ilegítimo del príncipe georgiano Luká Stepánovitch Gedevanishvili (62), quien lo registró conforme a la usanza de la época como hijo de uno de sus sirvientes, Porfiri Borodín. Su madre fue Evdokia (Eudoxie) Constantínovna Antónova (25), apodada por el diminutivo Dunia. Su padre muere cuando Alexander tenía 7 años y lo incluye en su testamento. Alexander fue un autodidacta, aprende a tocar flauta, violonchelo y piano. Tuvo una vida confortable y recibió una buena educación incluyendo clases de piano, francés y alemán. A los 15 años se inscribe en la Facultad de Medicina, a los 21 es contratado en el Hospital de la Armada Territorial y a los 23 como profesor de la Academia Militar de Química. Sin embargo, su área de especialización fue la química, por lo cual no recibió clases formales de composición hasta 1863, cuando se convirtió en discípulo de Mili Balákirev. Tuvo dos hermanos, Dmitri Serguéievich Aleksándrov y Evgueni Fiódorovich Fiódorov, que fueron registrados como hijos de los sirvientes del príncipe. Se casa en 1861 con una famosa y talentosa pianista nacida en Heidelberg, Ekaterina Serguéievna Protopópova, con quien tuvo tres hijos.
En 1869 Balákirev le dirigió su primera sinfonía y en ese mismo año Borodín comenzó la composición de su segunda sinfonía. Aunque el estreno ruso de esta última fue un fracaso, Franz Liszt logró que fuera interpretada en Alemania en 1880, donde tuvo bastante éxito, dándole fama fuera de Rusia.
También en 1869 empezó a trabajar en la composición de su ópera El príncipe Ígor, que es considerada por algunos su obra más importante. Esta ópera contiene las ampliamente conocidas Danzas polovtsianas (o Danzas de los pólovtsy), siendo éste un fragmento comúnmente interpretado por sí mismo, tanto en su versión coral como orquestal. Debido a la gran carga de trabajo como químico, la ópera quedó inconclusa al momento de su muerte, siendo completada posteriormente por Nikolái Rimski-Kórsakov y Aleksandr Glazunov.
Priorizó su ópera sobre la tercera sinfonía, quedando esta inacabada. Alexander Glazunov consiguió arreglar las secciones del primer movimiento, así como recrear el scherzo a partir de uno de sus cuartetos de cuerda, cuyo scherzo iba a ser el mismo. Para el trío del scherzo, Glazunov utilizó temas que se habían desechado durante la composición de El príncipe Igor.
A pesar de ser un compositor reconocido, Borodín siempre se ganó la vida como químico, campo en el cual era bastante respetado, particularmente por su conocimiento de los aldehídos. A Borodín también se le atribuye, junto con Charles-Adolphe Wurtz, el descubrimiento de la reacción aldólica, una importante reacción en química orgánica; además de otra reacción química conocida como reacción Borodin-Hunsdiecker. En 1872, participó en la fundación de una escuela de Medicina para mujeres.
Sus obras incluyen el poema sinfónico En las estepas de Asia Central, dos cuartetos de cuerdas, donde el tercer movimiento Nocturno del segundo cuarteto goza de gran fama, un quinteto para cuerdas, un quinteto para piano y cuerdas, una sonata para violoncelo y piano, 16 canciones para bajo y piano, tres de ellas además con violoncelo, piezas para piano, así como las ya mencionadas sinfonías 1 y 2, más una tercera incompleta al momento de su muerte (con dos movimientos completados por Glazunov), el segundo movimiento de la tercera sinfonía, Borodín lo transcribió a cuarteto de cuerdas como un Scherzo.
Tras la muerte de Modest Músorgski en marzo de 1881, sufre de ataques cardiacos y cólera. Borodín murió a los 53 años de un infarto durante una fiesta organizada por los profesores de la academia en San Petersburgo, el 27 de febrero de 1887 y fue enterrado en el cementerio Tijvin del monasterio de Aleksandr Nevski. Su esposa le sobrevivió 5 meses.
En su honor, un cuarteto de cuerdas fundado en Rusia en 1945 lleva su nombre, el Cuarteto Borodín. El pintor Iliá Yefímovich Repin (1844–1930) hizo un magnífico retrato de Borodín, que se encuentra en el Museo Estatal Ruso de San Petersburgo.
es.wikipedia.org/wiki/Aleksandr_Borodín
es.wikipedia.org/wiki/Los_Cinco_(compositores)
Alexander Porfiryevich Borodin (Russian: Алекса́ндр Порфи́рьевич Бороди́н) (12 November 1833 – 27 February 1887) was a Russian chemist and Romantic musical composer of Georgian ancestry. He was one of the prominent 19th-century composers known as "The Mighty Handful", a group dedicated to producing a uniquely Russian kind of classical music, rather than imitating earlier Western European models. Borodin is known best for his symphonies, his two string quartets, the symphonic poem In the Steppes of Central Asia and his opera Prince Igor. Music from Prince Igor and his string quartets was later adapted for the US musical Kismet.
A doctor and chemist by profession, Borodin made important early contributions to organic chemistry. Although he is presently known better as a composer, during his lifetime, he regarded medicine and science as his primary occupations, only practising music and composition in his spare time or when he was ill. As a chemist, Borodin is known best for his work concerning organic synthesis, including being among the first chemists to demonstrate nucleophilic substitution, as well as being the co-discoverer of the aldol reaction. Borodin was a promoter of education in Russia and founded the School of Medicine for Women in Saint Petersburg, where he taught until 1885.
Borodin was born in Saint Petersburg as an illegitimate son of a 62-year-old Georgian nobleman, Luka Stepanovich Gedevanishvili, and a married 25-year-old Russian woman, Evdokia Konstantinovna Antonova. Due to the circumstances of Alexander's birth, the nobleman had him registered as the son of one of his Russian serfs, Porfiry Borodin, hence the composer's Russian last name. As a result of this registration, both Alexander and his nominal Russian father Porfiry were officially serfs of Alexander's biological father Luka. The Georgian father emancipated Alexander from serfdom when he was 7 years old and provided housing and money for him and his mother. Despite this, Alexander was never publicly recognized by his mother, who was referred to by young Borodin as his "aunt".
Despite his status as a commoner, Borodin was well provided for by his Georgian father and grew up in a large four-storey house, which was gifted to Alexander and his "aunt" by the nobleman. Although his registration prevented enrollment in a proper gymnasium, Borodin received good education in all of the subjects through private tutors at home. During 1850 he enrolled in the Medical–Surgical Academy in Saint Petersburg, which was later the workplace of Ivan Pavlov, and pursued a career in chemistry. On graduation he spent a year as surgeon in a military hospital, followed by three years of advanced scientific study in western Europe.
During 1862 Borodin returned to Saint Petersburg to begin a professorship of chemistry at the Imperial Medical-Surgical Academy and spent the remainder of his scientific career in research, lecturing and overseeing the education of others. Eventually, he established medical courses for women (1872).
He began taking lessons in composition from Mily Balakirev during 1862. He married Ekaterina Protopopova, a pianist, during 1863, and had at least one daughter, named Gania. Music remained a secondary vocation for Borodin besides his main career as a chemist and physician. He suffered poor health, having overcome cholera and several minor heart failures. He died suddenly during a ball at the Academy, and was interred in Tikhvin Cemetery at the Alexander Nevsky Monastery in Saint Petersburg.
In his profession Borodin gained great respect, being particularly noted for his work on aldehydes. Between 1859 and 1862 Borodin had a postdoctoral position in Heidelberg. He worked in the laboratory of Emil Erlenmeyer working on benzene derivatives. He also spent time in Pisa, working on halocarbons. One experiment published during 1862 described the first nucleophilic displacement of chlorine by fluorine in benzoyl chloride. The radical halodecarboxylation of aliphatic carboxylic acids was first demonstrated by Borodin during 1861 by his synthesis of methyl bromide from silver acetate. It was Heinz Hunsdiecker and his wife Cläre, however, who developed Borodin's work into a general method, for which they were granted a US patent during 1939, and which they published in the journal Chemische Berichte during 1942. The method is generally known as either the Hunsdiecker reaction or the Hunsdiecker–Borodin reaction.
During 1862, Borodin returned to the Medical–Surgical Academy (now known as the S.M. Kirov Military Medical Academy), and accepted a professorship of chemistry. He worked on self-condensation of small aldehydes in a process now known as the aldol reaction, the discovery of which is jointly credited to Borodin and Charles-Adolphe Wurtz. Borodin investigated the condensation of valerian aldehyde and oenanth aldehyde, which was reported by von Richter during 1869. During 1873, he described his work to the Russian Chemical Society and noted similarities with compounds recently reported by Wurtz.
He published his last full article during 1875 on reactions of amides and his last publication concerned a method for the identification of urea in animal urine.
His successor as chemistry professor of the Medical-Surgical academy was his son-in-law and fellow chemist, Alexander Dianin.
Borodin met Mily Balakirev during 1862. While under Balakirev's tutelage in composition he began his Symphony No. 1 in E-flat major; it was first performed during 1869, with Balakirev conducting. During that same year Borodin started on his Symphony No. 2 in B minor, which was not particularly successful at its premiere during 1877 under Eduard Nápravník, but with some minor re-orchestration received a successful performance during 1879 by the Free Music School by Rimsky-Korsakov's direction. During 1880 he composed the popular symphonic poem In the Steppes of Central Asia. Two years later he began composing a third symphony, but left it unfinished at his death; two movements of it were later completed and orchestrated by Alexander Glazunov.
During 1868 Borodin became distracted from initial work on the second symphony by preoccupation with the opera Prince Igor, which is considered by some to be his most significant work and one of the most important historical Russian operas. It contains the Polovtsian Dances, often performed as a stand-alone concert work forming what is probably Borodin's best-known composition. Borodin left the opera (and a few other works) incomplete at his death.
Prince Igor was completed posthumously by Rimsky-Korsakov and Glazunov. It is set in the 12th century, when the Russians, commanded by Prince Igor of Seversk, determined to conquer the barbarous Polovtsians by travelling eastward across the Steppes. The Polovtsians were apparently a nomadic tribe originally of Turkish origin who habitually attacked southern Russia. A full solar eclipse early during the first act foreshadows an ominous outcome to the invasion. Prince Igor's troops are defeated. The story tells of the capture of Prince Igor, and his son, Vladimir, of Russia by Polovtsian chief Khan Konchak, who entertains his prisoners lavishly and orders his slaves to perform the famous 'Polovtsian Dances', which provide a thrilling climax to the second act. The second half of the opera finds Prince Igor returning to his homeland, but rather than finding himself in disgrace, he is welcomed home by the townspeople and by his wife, Yaroslavna. Although for a while rarely performed in its entirety outside of Russia, this opera has received two notable new productions recently, one at the Bolshoi State Opera and Ballet Company in Russia during 2013, and one at the Metropolitan Opera Company of New York City during 2014.
No other member of the Balakirev circle identified himself so much with absolute music as did Borodin in his two string quartets, and in his many earlier chamber compositions. Himself a cellist, he was an enthusiastic chamber music player, an interest that increased during his chemical studies in Heidelberg between 1859 and 1861. This early period yielded, among other chamber works, a string sextet and a piano quintet. In thematic structure and instrumental texture he based his pieces on those of Felix Mendelssohn.
During 1875 Borodin started his First String Quartet, much to the displeasure of Mussorgsky and Vladimir Stasov. That Borodin did so in the company of The Five, who were hostile to chamber music, demonstrates his independence. From the First Quartet onward, he displayed mastery of the form. His Second Quartet, in which his strong lyricism is represented in the popular "Nocturne", followed during 1881. The First Quartet is richer in changes of mood. The Second Quartet has a more uniform atmosphere and expression.
Borodin's fame outside the Russian Empire was made possible during his lifetime by Franz Liszt, who arranged a performance of the Symphony No. 1 in Germany during 1880, and by the Comtesse de Mercy-Argenteau in Belgium and France. His music is noted for its strong lyricism and rich harmonies. Along with some influences from Western composers, as a member of The Five his music has also a Russian style. His passionate music and unusual harmonies proved to have a lasting influence on the younger French composers Debussy and Ravel (in homage, the latter composed during 1913 a piano piece entitled "À la manière de Borodine").
The evocative characteristics of Borodin's music made possible the adaptation of his compositions in the 1953 musical Kismet, by Robert Wright and George Forrest, notably in the songs "Stranger in Paradise" and "And This Is My Beloved". In 1954, Borodin was posthumously awarded a Tony Award for this show.
en.wikipedia.org/wiki/Alexander_Borodin
en.wikipedia.org/wiki/List_of_compositions_by_Alexander_B...
en.wikipedia.org/wiki/The_Five_(composers)
SPIEGEL IM SPIEGEL
SPECCHIO NELLO SPECCHIO
MIRROR IN THE MIRROR
ESPEJO EN EL ESPEJO
MIROIR DANS LE MIROIR
Specchio.
Specchio di espressioni.
Specchio di sguardo e sorriso.
Specchio di emozioni.
Specchio fuori, specchio dentro.
Specchio del sentire, del guardare, del reagire al vivere.
Un riflettersi quotidiano nell'altro.
Mirror.
Mirror of expressions.
Mirror of look and smile.
Mirror outside, mirror inside.
Mirror of one's feeling, looking, reacting to living.
Daily reflecting in each other.
(Carta carbone, si diceva di recente...
"Carta carbone, Claudia. Te la ricordi, la carta carbone?"
Sì, la ricordo così bene, la carta carbone, che ho usato con la Lettera 22 della Olivetti, compagna di primi urgenti tentativi di scrittura...
Carta carbone e specchio dell'altro, questo si può essere.
E' possibile)
Il titolo l'ho preso dall'omonima composizione musicale di Arvo Part, per l'appunto "Spiegel Im Spiegel", inclusa nell'album ALINA (ECM, 1999) / Title from: "Spiegel Im Spiegel", by Arvo Part, included in ALINA (ECM, 1999).
Ho molto ascoltato l'andamento ipnotico e notturno di queste note lente, a loro modo lievi, ripetute, propagate, e dei loro infiniti rimandi reciproci.
Leggevo, a questo proposito: "Spiegel im Spiegel" in German literally can mean both "mirror in the mirror" as well as "mirrors in the mirror", referring to the infinity of images produced by parallel plane mirrors: the tonic triads are endlessly repeated with small variations as if reflected back and forth.
Nulla di più vero.
Arvo Part, Spiegel Im Spiegel
Notizie su Arvo Part, grandissimo compositore contemporaneo: it.wikipedia.org/wiki/Arvo_P%C3%A4rt
La fotografia, anzi, le fotografie: le ho scattate durante Umbria Jazz 2012. Sono i gemelli Mincone, durante una pausa dell'esibizione dello Stefano Mincone Quartet.
Link al sito ufficiale di Stefano Mincone: www.stefanomincone.com/
Momenti di magia in musica a Perugia, ma anche di magia umana.
flickriver.com/photos/javier1949/popular-interesting/
“Entre dos universos”
Estación de Metro Paco de Lucía, línea 9, calle Costa Brava, Mirasierra Madrid
Paco de Lucía: “Entre dos universos”, por Rosh333 y Okuda.
Graffiti y metro han estado vinculados desde hace décadas. Sin embargo, por primera vez una estación de metro va a contener de manera permanente una intervención artística llevada a cabo por graffiteros o artistas urbanos.
Desde Madrid Street Art Project se ha comisariado y coordinado este proyecto para la Comunidad de Madrid; en él, Rosh333 y Okuda, en estrecha colaboración con el arquitecto Antonyo Marest, han realizado su intervención artística para la nueva estación de Metro de Madrid Paco de Lucía, en la prolongación de la línea 9, e inaugurada en marzo de 2015 en la calle Costa Brava del barrio de Mirasierra.
La intervención lleva por título “Entre dos universos“, en homenaje al genial guitarrista y compositor y en referencia a su tema “Entre dos aguas”. La obra mide 300 metros cuadrados que representan el rostro del artista gaditano nacido en 1947 en Algeciras y fallecido el 25 de febrero de 2014 en Playa del Carmen (México). El guitarrista residía en el barrio de Mirasierra, de ahí que se le dedicara una de sus estaciones.
Consta de un mural principal en el que confluyen dos universos: a la izquierda, el de Rosh333, quien ha plasmado su característico lenguaje de líneas curvas, texturas, formas sinuosas y manchas de colores pastel; a la derecha el de Okuda, quien ha hecho lo propio a través de sus figuras geométricas, formas estrelladas y colores vibrantes. Ambos lenguajes y universos se funden en la zona central gracias a un retrato geometrizado de Paco de Lucía, realizado a cuatro manos.
Los artistas elegidos para decorar esta estación gozan de reconocido prestigio y han participado en diferentes proyectos tanto dentro como fuera de España. Por ejemplo, Okuda trabajó en Miami y Moscú, mientras que Rosh333 ha participado en el proyecto Víbora II, en el que se pintaron 35.000 metros cuadrados del antiguo cauce del río Vinalopó, en Elche, con piezas gigantescas de numerosos artistas urbanos. Este mismo artista, además, realizó en agosto otro gran mural de 150 metros en Santander, en el club de tiro, dentro de la programación cultural del mundial de vela.
Detrás de esta primera incursión de artistas urbanos en el metro de Madrid hay muchas horas de preparación y trabajo, un proceso que ha sido documentado gráfica y audiovisualmente.
www.abc.es/madrid/20140924/abci-estacion-paco-lucia-20140...
www.europapress.es/madrid/noticia-estacion-metro-paco-luc...
ccaa.elpais.com/ccaa/2014/09/25/madrid/1411668193_804835....
ccaa.elpais.com/ccaa/2015/03/25/madrid/1427306042_246229....
madridstreetartproject.com/%E2%86%92-paco-de-lucia-entre-...
Rosh333 rlove.es/
Okuda okudart.es/showcase/
Cantora e compositora paulistana Ana Cañas sobe ao palco para o show de lançamento da versão em vinil do quarto álbum da carreira, “Tô na Vida” (2015), em São Paulo. 06.05.16
Mais em: rogeriostella.wordpress.com/2016/05/07/to-na-vida-de-ana-...
Cantor e compositor Walmir Borges apresenta show inédito em homenagem a uma das maiores influências na sua carreira musical, Djavan. São Paulo. 18.02.16
Mais em: rogeriostella.wordpress.com/2016/02/19/walmir-borges-e-as...
Cantora, compositora e artista visual, não necessariamente nessa ordem. Mariana Degani sobe ao palco para o show de lançamento do primeiro disco solo de sua carreira, “Furtacor”, em São Paulo. 18.11.16
Mais em: rogeriostella.wordpress.com/2016/11/18/mariana-degani-apr...
Cantora e compositora Luiza Possi apresenta canções do mais recente CD, “LP”, em São Paulo. 25.10.16
Mais em: rogeriostella.wordpress.com/2016/10/26/o-lp-da-luiza-possi/
Cantora, compositora e violonista, Rosa Passos está completando três décadas e meia de uma trajetória artística de sucesso. Para comemorar a data, ela apresenta o espetáculo “Rosa Passos – 35 Anos de Carreira”, em São Paulo. 24.04.16
Mais em: rogeriostella.wordpress.com/2016/04/25/rosa-passos-35-ano...
Mijaíl Ivánovich Glinka (en ruso: Михаил Иванович Глинка; Novospásskoie, provincia de Smolensk, 1 de junio de 1804-Berlín, 15 de febrero de 1857) fue un compositor ruso, considerado el padre del nacionalismo musical ruso.
Durante sus viajes visitó España, donde conoció y admiró la música popular española, de la cual utilizó el estilo de la jota en su obra La jota aragonesa. Recuerdos de Castilla, basado en su prolífica estancia en Fresdelval, «Recuerdo de una noche de verano en Madrid», sobre la base de la obertura La noche en Madrid, son parte de su música orquestal. El método utilizado por Glinka para arreglar la forma y orquestación son influencia del folclore español. Las nuevas ideas de Glinka fueron plasmadas en “Las oberturas españolas”.
Glinka fue el primer compositor ruso en ser reconocido fuera de su país y, generalmente, se lo considera el 'padre' de la música rusa. Su trabajo ejerció una gran influencia en las generaciones siguientes de compositores de su país.
Sus obras más conocidas son las óperas Una vida por el Zar (1836), la primera ópera nacionalista rusa, y Ruslán y Liudmila (1842), cuyo libreto fue escrito por Aleksandr Pushkin y su obertura se suele interpretar en las salas de concierto. En Una vida por el Zar alternan arias de tipo italiano con melodías populares rusas. No obstante, la alta sociedad occidentalizada no admitió fácilmente esa intrusión de "lo vulgar" en un género tradicional como la ópera.
Sus obras orquestales son menos conocidas.
Inspiró a un grupo de compositores a reunirse (más tarde, serían conocidos como "los cinco": Modest Músorgski, Nikolái Rimski-Kórsakov, Aleksandr Borodín, Cesar Cui, Mili Balákirev) para crear música basada en la cultura rusa. Este grupo, más tarde, fundaría la Escuela Nacionalista Rusa. Es innegable la influencia de Glinka en otros compositores como Vasili Kalínnikov, Mijaíl Ippolítov-Ivánov, y aún en Piotr Chaikovski.
es.wikipedia.org/wiki/Mijaíl_Glinka
es.wikipedia.org/wiki/Los_Cinco_(compositores)
Mikhail Ivanovich Glinka (Russian: Михаил Иванович Глинка; 1 June [O.S. 20 May] 1804 – 15 February [O.S. 3 February] 1857) was the first Russian composer to gain wide recognition within his own country, and is often regarded as the fountainhead of Russian classical music. Glinka's compositions were an important influence on future Russian composers, notably the members of The Five, who took Glinka's lead and produced a distinctive Russian style of music.
Glinka was born in the village of Novospasskoye, not far from the Desna River in the Smolensk Governorate of the Russian Empire (now in the Yelninsky District of the Smolensk Oblast). His wealthy father had retired as an army captain, and the family had a strong tradition of loyalty and service to the tsars, while several members of his extended family had also developed a lively interest in culture. His great-great-grandfather was a Polish–Lithuanian Commonwealth nobleman, Wiktoryn Władysław Glinka of the Trzaska coat of arms.
As a small child, Mikhail was raised by his over-protective and pampering paternal grandmother, who fed him sweets, wrapped him in furs, and confined him to her room, which was always to be kept at 25 °C (77 °F); accordingly, he developed a sickly disposition, later in his life retaining the services of numerous physicians, and often falling victim to a number of quacks. The only music he heard in his youthful confinement was the sounds of the village church bells and the folk songs of passing peasant choirs. The church bells were tuned to a dissonant chord and so his ears became used to strident harmony. While his nurse would sometimes sing folksongs, the peasant choirs who sang using the podgolosochnaya technique (an improvised style – literally under the voice – which uses improvised dissonant harmonies below the melody) influenced the way he later felt free to emancipate himself from the smooth progressions of Western harmony. After his grandmother's death, Glinka moved to his maternal uncle's estate some 10 kilometres (6 mi) away, and was able to hear his uncle's orchestra, whose repertoire included pieces by Haydn, Mozart and Beethoven. At the age of about ten he heard them play a clarinet quartet by the Finnish composer Bernhard Henrik Crusell. It had a profound effect upon him. "Music is my soul", he wrote many years later, recalling this experience. While his governess taught him Russian, German, French, and geography, he also received instruction on the piano and the violin.
At the age of 13, Glinka went to the capital, Saint Petersburg, to study at a school for children of the nobility. Here he learned Latin, English, and Persian, studied mathematics and zoology, and considerably widened his musical experience. He had three piano lessons from John Field, the Irish composer of nocturnes, who spent some time in Saint Petersburg. He then continued his piano lessons with Charles Mayer and began composing.
When he left school his father wanted him to join the Foreign Office, and he was appointed assistant secretary of the Department of Public Highways. The work was light, which allowed Glinka to settle into the life of a musical dilettante, frequenting the drawing rooms and social gatherings of the city. He was already composing a large amount of music, such as melancholy romances which amused the rich amateurs. His songs are among the most interesting part of his output from this period.
In 1830, at the recommendation of a physician, Glinka decided to travel to Italy with the tenor Nikolai Kuzmich Ivanov. The journey took a leisurely pace, ambling uneventfully through Germany and Switzerland, before they settled in Milan. There, Glinka took lessons at the conservatory with Francesco Basili, although he struggled with counterpoint, which he found irksome. Although he spent his three years in Italy listening to singers of the day, romancing women with his music, and meeting many famous people including Mendelssohn and Berlioz, he became disenchanted with Italy. He realized that his mission in life was to return to Russia, write in a Russian manner, and do for Russian music what Donizetti and Bellini had done for Italian music. His return route took him through the Alps, and he stopped for a while in Vienna, where he heard the music of Franz Liszt. He stayed for another five months in Berlin, during which time he studied composition under the distinguished teacher Siegfried Dehn. A Capriccio on Russian themes for piano duet and an unfinished Symphony on two Russian themes were important products of this period.
When word reached Glinka of his father's death in 1834, he left Berlin and returned to Novospasskoye.
While in Berlin, Glinka had become enamored with a beautiful and talented singer, for whom he composed Six Studies for Contralto. He contrived a plan to return to her, but when his sister's German maid turned up without the necessary paperwork to cross to the border with him, he abandoned his plan as well as his love and turned north for Saint Petersburg. There he reunited with his mother, and made the acquaintance of Maria Petrovna Ivanova. After he courted her for a brief period, the two married. The marriage was short-lived, as Maria was tactless and uninterested in his music. Although his initial fondness for her was said to have inspired the trio in the first act of opera A Life for the Tsar (1836), his naturally sweet disposition coarsened under the constant nagging of his wife and her mother. After separating, she remarried. Glinka moved in with his mother, and later with his sister, Lyudmila Shestakova.
A Life for the Tsar was the first of Glinka's two great operas. It was originally entitled Ivan Susanin. Set in 1612, it tells the story of the Russian peasant and patriotic hero Ivan Susanin who sacrifices his life for the Tsar by leading astray a group of marauding Poles who were hunting him. The Tsar himself followed the work's progress with interest and suggested the change in the title. It was a great success at its premiere on 9 December 1836, under the direction of Catterino Cavos, who had written an opera on the same subject in Italy. Although the music is still more Italianate than Russian, Glinka shows superb handling of the recitative which binds the whole work, and the orchestration is masterly, foreshadowing the orchestral writing of later Russian composers. The Tsar rewarded Glinka for his work with a ring valued at 4,000 rubles. (During the Soviet era, the opera was staged under its original title Ivan Susanin).
In 1837, Glinka was installed as the instructor of the Imperial Chapel Choir, with a yearly salary of 25,000 rubles, and lodging at the court. In 1838, at the suggestion of the Tsar, he went off to Ukraine to gather new voices for the choir; the 19 new boys he found earned him another 1,500 rubles from the Tsar.
He soon embarked on his second opera: Ruslan and Lyudmila. The plot, based on the tale by Alexander Pushkin, was concocted in 15 minutes by Konstantin Bakhturin, a poet who was drunk at the time. Consequently, the opera is a dramatic muddle, yet the quality of Glinka's music is higher than in A Life for the Tsar. He uses a descending whole tone scale in the famous overture. This is associated with the villainous dwarf Chernomor who has abducted Lyudmila, daughter of the Prince of Kiev. There is much Italianate coloratura, and Act 3 contains several routine ballet numbers, but his great achievement in this opera lies in his use of folk melody which becomes thoroughly infused into the musical argument. Much of the borrowed folk material is oriental in origin. When it was first performed on 9 December 1842, it met with a cool reception, although it subsequently gained popularity.
Glinka went through a dejected year after the poor reception of Ruslan and Lyudmila. His spirits rose when he travelled to Paris and Spain. In Spain, Glinka met Don Pedro Fernández, who remained his secretary and companion for the last nine years of his life. In Paris, Hector Berlioz conducted some excerpts from Glinka’s operas and wrote an appreciative article about him. Glinka in turn admired Berlioz’s music and resolved to compose some fantasies pittoresques for orchestra. Another visit to Paris followed in 1852 where he spent two years, living quietly and making frequent visits to the botanical and zoological gardens. From there he moved to Berlin where, after five months, he died suddenly on 15 February 1857, following a cold. He was buried in Berlin but a few months later his body was taken to Saint Petersburg and re-interred in the cemetery of the Alexander Nevsky Monastery.
Glinka was the beginning of a new direction in the development of music in Russia Musical culture arrived in Russia from Europe, and for the first time specifically Russian music began to appear, based on the European music culture, in the operas of the composer Mikhail Glinka. Different historical events were often used in the music, but for the first time they were presented in a realistic manner.
The first to note this new musical direction was Alexander Serov. He was then supported by his friend Vladimir Stasov, who became the theorist of this musical direction. This direction was developed later by composers of "The Five".
The modern Russian music critic Viktor Korshikov thus summed up: "There is not the development of Russian musical culture without...three operas – Ivan Soussanine, Ruslan and Ludmila and the Stone Guest have created Mussorgsky, Rimsky-Korsakov and Borodin. Soussanine is an opera where the main character is the people, Ruslan is the mythical, deeply Russian intrigue, and in Guest, the drama dominates over the softness of the beauty of sound." Two of these operas – Ivan Soussanine and Ruslan and Ludmila – were composed by Glinka.
Since this time, the Russian culture began to occupy an increasingly prominent place in world culture.
en.wikipedia.org/wiki/Mikhail_Glinka
en.wikipedia.org/wiki/The_Five_(composers)
José Luis Ortega Monasterio (Santoña, Cantàbria, 8 d'agost de 1918 - Barcelona, 18 de gener de 2004) fou un compositor i militar espanyol. Ha estat un dels grans mestres compositors d'havaneres, de les quals en va fer una cinquantena, i és l'autor pretès de la més coneguda, El meu avi. De les seves més de cent obres, la majoria són en català, unes quantes en castellà i fins i tot alguna en euskera. A més de cantant, també va ser instrumentista de guitarra i acordió.
Fill d'una família de llarga tradició militar, Ortega Monasterio va néixer el 8 d'agost de 1918 a Santoña (aleshores Castella la Vella, avui Cantàbria). Va passar part de la seva infància a Mutriku (Guipúscoa), fins que va quedar orfe de pare i mare. Llavors va traslladar-se a Palol d'Onyar, on a l'escola ja componia peces de música com Estrellita marinera; a més, cantava al cor de la catedral de Girona. Als nou anys interpretà el paper principal de la comèdia musical Xao al Teatre Principal de Girona. Va ser en aquesta època que entrà en contacte amb la llengua i la cultura catalanes. Durant la Guerra Civil va fugir de Girona a peu per la frontera a través d'Olot i Beget fins a la Menera (Vallespir). Des d'allí es va traslladar a Espanya via Hendaia i es va incorporar a l'exèrcit franquista.
Passada la Guerra Civil fou nomenat oficial de complement. Va estar destinat al cos de Regulars al Nord d'Àfrica, a Ceuta i Larraix, i estudià a les acadèmies militars de Saragossa, Guadalajara i Toledo. L'any 1942 fundà el grup d'havaneres Los Gringos. Ja capità, en els anys cinquanta fou assignat a l'Escola Militar de Muntanya, de Jaca. Passà després a Puigcerdà, com a Cap de la Guàrdia Civil de Fronteres, tasca que compaginà amb la de professor d'educació física a La Molina. A començaments dels 60, ja comandant d'infanteria, fou enviat a Menorca, on compongué cançons per al grup Los Parranderos, col·laborà en el Festival de Canción Menorquina d'Alaior, i deixà un gran record en general. El 1964 fou traslladat a Palamós, a la Costa Brava. Fou un dels organitzadors de la primera Cantada d'Havaneres de Calella de Palafrugell (1967). A l'any següent, suposadament, va compondre l'obra que li donaria més anomenada, l'havanera El meu avi. Algunes persones han contradit el fet que Ortega Monasterio fos autor de l'havanera El meu avi, que seria una cançó que ja cantaven els mariners més vells de Menorca abans de la guerra. Conjuntament amb Evarist Puig i Joaquim Simó fundà el 1972 el Festival de Cançó Marinera de Palamós.
En els anys setanta participà en la fundació de la Unión Militar Democrática. En ser enxampat el 1976 amb unes octavetes de propaganda de la formació, un judici militar el condemnà a cinc mesos de presó militar a Cadis. Tres anys més tard va ser expulsat de l'exèrcit per "ofensa a l'honor". El 1984, el govern revisà el judici i el restituí a l'honor i grau de coronel; amb tot i això, en Josep Lluís no reprengué la carrera militar perquè ja tenia una altra ocupació: havia fundat el grup d'havaneres Cavall Bernat el 1975, i es dedicava plenament a la música, cantant i component havaneres. Es jubilà del conjunt el 1995.
En els últims anys de la seva vida rebé nombrosos homenatges, el més càlid dels quals a Calella de Palafrugell, durant les populars cantades d'havaneres. Francesc Salse i Josep Maria Cao li dedicaren l'havanera Al mestre Ortega Monasterio. El compositor també té estàtues a Puigcerdà, recordant les seves facetes de músic i de muntanyenc, i a Platja d'Aro. Va rebre la Creu de Sant Jordi el 1999 per tota una carrera dedicada a la difusió de l'havanera.
Aquesta imatge ha jugat a En un lugar de Flickr.
flickriver.com/photos/javier1949/popular-interesting/
“Entre dos universos”
Estación de Metro Paco de Lucía, línea 9, calle Costa Brava, Mirasierra Madrid
Paco de Lucía: “Entre dos universos”, por Rosh333 y Okuda.
Graffiti y metro han estado vinculados desde hace décadas. Sin embargo, por primera vez una estación de metro va a contener de manera permanente una intervención artística llevada a cabo por graffiteros o artistas urbanos.
Desde Madrid Street Art Project se ha comisariado y coordinado este proyecto para la Comunidad de Madrid; en él, Rosh333 y Okuda, en estrecha colaboración con el arquitecto Antonyo Marest, han realizado su intervención artística para la nueva estación de Metro de Madrid Paco de Lucía, en la prolongación de la línea 9, e inaugurada en marzo de 2015 en la calle Costa Brava del barrio de Mirasierra.
La intervención lleva por título “Entre dos universos“, en homenaje al genial guitarrista y compositor y en referencia a su tema “Entre dos aguas”. La obra mide 300 metros cuadrados que representan el rostro del artista gaditano nacido en 1947 en Algeciras y fallecido el 25 de febrero de 2014 en Playa del Carmen (México). El guitarrista residía en el barrio de Mirasierra, de ahí que se le dedicara una de sus estaciones.
Consta de un mural principal en el que confluyen dos universos: a la izquierda, el de Rosh333, quien ha plasmado su característico lenguaje de líneas curvas, texturas, formas sinuosas y manchas de colores pastel; a la derecha el de Okuda, quien ha hecho lo propio a través de sus figuras geométricas, formas estrelladas y colores vibrantes. Ambos lenguajes y universos se funden en la zona central gracias a un retrato geometrizado de Paco de Lucía, realizado a cuatro manos.
Los artistas elegidos para decorar esta estación gozan de reconocido prestigio y han participado en diferentes proyectos tanto dentro como fuera de España. Por ejemplo, Okuda trabajó en Miami y Moscú, mientras que Rosh333 ha participado en el proyecto Víbora II, en el que se pintaron 35.000 metros cuadrados del antiguo cauce del río Vinalopó, en Elche, con piezas gigantescas de numerosos artistas urbanos. Este mismo artista, además, realizó en agosto otro gran mural de 150 metros en Santander, en el club de tiro, dentro de la programación cultural del mundial de vela.
Detrás de esta primera incursión de artistas urbanos en el metro de Madrid hay muchas horas de preparación y trabajo, un proceso que ha sido documentado gráfica y audiovisualmente.
www.abc.es/madrid/20140924/abci-estacion-paco-lucia-20140...
www.europapress.es/madrid/noticia-estacion-metro-paco-luc...
ccaa.elpais.com/ccaa/2014/09/25/madrid/1411668193_804835....
ccaa.elpais.com/ccaa/2015/03/25/madrid/1427306042_246229....
madridstreetartproject.com/%E2%86%92-paco-de-lucia-entre-...
Rosh333 rlove.es/
Okuda okudart.es/showcase/
Acompanhado do tradicional Conjunto João Rubinato, o ator Cassio Scapin e os cantores Luiza Possi e Tiago Abravanel dão continuidade ao projeto em celebração da vida e obra do compositor Adoniran Barbosa (1910-1982) e apresentam o show “Adonirando” em São Paulo. 28.08.18
Mais em: rogeriostella.wordpress.com/2018/08/28/adonirando-uma-hom...
Matias Saavedra Fierro - Artista Chileno / Musico . Cantante . Compositor
HMS Ramsey, (M110), a Royal Navy minehunter, moored at the Eisenhower Pier, Bangor, County Down, Northern Ireland - two photographs taken on a Canon EOS7D Mk II w/70-200mm lens, then stitched together using Image Compositor.
Cantora, compositora e atriz, Manu Gavassi apresenta show com as músicas de seu novo disco “Manu” em São Paulo. 21.05.17
Estudo para Compositor.
Autor:
Carneiro, António (1872-1930)
Fotografia:
Teófilo Rego (1914-1993).
[CFT056.30]
Cantor, compositor e multi-instrumentista capixaba Silva apresenta o show do seu terceiro álbum de carreira, Júpiter, em São Paulo. 20.02.16
Amigo Pablo, cantante, compositor, trovador argentino.
By / Nelrojar.
The Work
Complete Pablo several assemble corals and he wrote several arrangements that were appreciated in these formations.
At the age of 21 years it records his first record work of an independent way called “Sorrow And Glories” where his brother Alejandro Fernández and Ann Galati informs, musicaliza the unpublished poem of the Latin-American poet Armando Tejada Gómez, “Song of the new year” big modality of Pablo's work. From there it starts also to musicalizar poets of different parts of South America.
Usually summoned for festivals, community events in big quantity of cultural spaces, his constant commitment with the needs for his country, they led it to coordinating diverse spaces in assemblies and popular libraries where I form choirs in community snack bars and he taught of guitar and music in general for children and lacking neighbors possibilities of study.
In the middle of the year 2003 it records along with the Latin-American poet Héctor Celano and Andrés Fernández a disc that compiles poetry and song called “Version of affection”.
In parallel it forms a quintet and in the year 2004 it records his third record work called “Sketches“ presented in the Cultural center of the Cooperation, in November of this year. Along with the quintet I present myself in rooms as the auditorium of National Radio, Cultural center of the South, Hotel Bahuen, Paseo the Square and between multiple spaces and charitable concerts.
It forms along with out-standing musicians the cooperative “Musicoop“ and several musicians' groups as Urgent Singing and others, in search of a better reality for the artists. During the same year also he led the radial program in Fm Tribe called “Little music meanwhile Hits” giving space to artists who began his career.
Up to today Pablo Fernández composed the music for two stage plays in Argentina “Two Faces” and the “Messenger of the Sleep” and an infantile one called the “World is a handkerchief” of the company of theater The Rail in Chile.
flickriver.com/photos/javier1949/popular-interesting/
“Entre dos universos”
Estación de Metro Paco de Lucía, línea 9, calle Costa Brava, Mirasierra Madrid
Paco de Lucía: “Entre dos universos”, por Rosh333 y Okuda.
Graffiti y metro han estado vinculados desde hace décadas. Sin embargo, por primera vez una estación de metro va a contener de manera permanente una intervención artística llevada a cabo por graffiteros o artistas urbanos.
Desde Madrid Street Art Project se ha comisariado y coordinado este proyecto para la Comunidad de Madrid; en él, Rosh333 y Okuda, en estrecha colaboración con el arquitecto Antonyo Marest, han realizado su intervención artística para la nueva estación de Metro de Madrid Paco de Lucía, en la prolongación de la línea 9, e inaugurada en marzo de 2015 en la calle Costa Brava del barrio de Mirasierra.
La intervención lleva por título “Entre dos universos“, en homenaje al genial guitarrista y compositor y en referencia a su tema “Entre dos aguas”. La obra mide 300 metros cuadrados que representan el rostro del artista gaditano nacido en 1947 en Algeciras y fallecido el 25 de febrero de 2014 en Playa del Carmen (México). El guitarrista residía en el barrio de Mirasierra, de ahí que se le dedicara una de sus estaciones.
Consta de un mural principal en el que confluyen dos universos: a la izquierda, el de Rosh333, quien ha plasmado su característico lenguaje de líneas curvas, texturas, formas sinuosas y manchas de colores pastel; a la derecha el de Okuda, quien ha hecho lo propio a través de sus figuras geométricas, formas estrelladas y colores vibrantes. Ambos lenguajes y universos se funden en la zona central gracias a un retrato geometrizado de Paco de Lucía, realizado a cuatro manos.
Los artistas elegidos para decorar esta estación gozan de reconocido prestigio y han participado en diferentes proyectos tanto dentro como fuera de España. Por ejemplo, Okuda trabajó en Miami y Moscú, mientras que Rosh333 ha participado en el proyecto Víbora II, en el que se pintaron 35.000 metros cuadrados del antiguo cauce del río Vinalopó, en Elche, con piezas gigantescas de numerosos artistas urbanos. Este mismo artista, además, realizó en agosto otro gran mural de 150 metros en Santander, en el club de tiro, dentro de la programación cultural del mundial de vela.
Detrás de esta primera incursión de artistas urbanos en el metro de Madrid hay muchas horas de preparación y trabajo, un proceso que ha sido documentado gráfica y audiovisualmente.
www.abc.es/madrid/20140924/abci-estacion-paco-lucia-20140...
www.europapress.es/madrid/noticia-estacion-metro-paco-luc...
ccaa.elpais.com/ccaa/2014/09/25/madrid/1411668193_804835....
ccaa.elpais.com/ccaa/2015/03/25/madrid/1427306042_246229....
madridstreetartproject.com/%E2%86%92-paco-de-lucia-entre-...
Rosh333 rlove.es/
Okuda okudart.es/showcase/
Cantora e compositora Roberta Campos grava seu primeiro DVD comemorando dez anos do lançamento de seu álbum de estreia. São Paulo. 03.07.18
Mais em: rogeriostella.wordpress.com/2018/07/03/roberta-campos-gra...
Mijaíl Ivánovich Glinka (en ruso: Михаил Иванович Глинка; Novospásskoie, provincia de Smolensk, 1 de junio de 1804-Berlín, 15 de febrero de 1857) fue un compositor ruso, considerado el padre del nacionalismo musical ruso.
Durante sus viajes visitó España, donde conoció y admiró la música popular española, de la cual utilizó el estilo de la jota en su obra La jota aragonesa. Recuerdos de Castilla, basado en su prolífica estancia en Fresdelval, «Recuerdo de una noche de verano en Madrid», sobre la base de la obertura La noche en Madrid, son parte de su música orquestal. El método utilizado por Glinka para arreglar la forma y orquestación son influencia del folclore español. Las nuevas ideas de Glinka fueron plasmadas en “Las oberturas españolas”.
Glinka fue el primer compositor ruso en ser reconocido fuera de su país y, generalmente, se lo considera el 'padre' de la música rusa. Su trabajo ejerció una gran influencia en las generaciones siguientes de compositores de su país.
Sus obras más conocidas son las óperas Una vida por el Zar (1836), la primera ópera nacionalista rusa, y Ruslán y Liudmila (1842), cuyo libreto fue escrito por Aleksandr Pushkin y su obertura se suele interpretar en las salas de concierto. En Una vida por el Zar alternan arias de tipo italiano con melodías populares rusas. No obstante, la alta sociedad occidentalizada no admitió fácilmente esa intrusión de "lo vulgar" en un género tradicional como la ópera.
Sus obras orquestales son menos conocidas.
Inspiró a un grupo de compositores a reunirse (más tarde, serían conocidos como "los cinco": Modest Músorgski, Nikolái Rimski-Kórsakov, Aleksandr Borodín, Cesar Cui, Mili Balákirev) para crear música basada en la cultura rusa. Este grupo, más tarde, fundaría la Escuela Nacionalista Rusa. Es innegable la influencia de Glinka en otros compositores como Vasili Kalínnikov, Mijaíl Ippolítov-Ivánov, y aún en Piotr Chaikovski.
es.wikipedia.org/wiki/Mijaíl_Glinka
es.wikipedia.org/wiki/Los_Cinco_(compositores)
Mikhail Ivanovich Glinka (Russian: Михаил Иванович Глинка; 1 June [O.S. 20 May] 1804 – 15 February [O.S. 3 February] 1857) was the first Russian composer to gain wide recognition within his own country, and is often regarded as the fountainhead of Russian classical music. Glinka's compositions were an important influence on future Russian composers, notably the members of The Five, who took Glinka's lead and produced a distinctive Russian style of music.
Glinka was born in the village of Novospasskoye, not far from the Desna River in the Smolensk Governorate of the Russian Empire (now in the Yelninsky District of the Smolensk Oblast). His wealthy father had retired as an army captain, and the family had a strong tradition of loyalty and service to the tsars, while several members of his extended family had also developed a lively interest in culture. His great-great-grandfather was a Polish–Lithuanian Commonwealth nobleman, Wiktoryn Władysław Glinka of the Trzaska coat of arms.
As a small child, Mikhail was raised by his over-protective and pampering paternal grandmother, who fed him sweets, wrapped him in furs, and confined him to her room, which was always to be kept at 25 °C (77 °F); accordingly, he developed a sickly disposition, later in his life retaining the services of numerous physicians, and often falling victim to a number of quacks. The only music he heard in his youthful confinement was the sounds of the village church bells and the folk songs of passing peasant choirs. The church bells were tuned to a dissonant chord and so his ears became used to strident harmony. While his nurse would sometimes sing folksongs, the peasant choirs who sang using the podgolosochnaya technique (an improvised style – literally under the voice – which uses improvised dissonant harmonies below the melody) influenced the way he later felt free to emancipate himself from the smooth progressions of Western harmony. After his grandmother's death, Glinka moved to his maternal uncle's estate some 10 kilometres (6 mi) away, and was able to hear his uncle's orchestra, whose repertoire included pieces by Haydn, Mozart and Beethoven. At the age of about ten he heard them play a clarinet quartet by the Finnish composer Bernhard Henrik Crusell. It had a profound effect upon him. "Music is my soul", he wrote many years later, recalling this experience. While his governess taught him Russian, German, French, and geography, he also received instruction on the piano and the violin.
At the age of 13, Glinka went to the capital, Saint Petersburg, to study at a school for children of the nobility. Here he learned Latin, English, and Persian, studied mathematics and zoology, and considerably widened his musical experience. He had three piano lessons from John Field, the Irish composer of nocturnes, who spent some time in Saint Petersburg. He then continued his piano lessons with Charles Mayer and began composing.
When he left school his father wanted him to join the Foreign Office, and he was appointed assistant secretary of the Department of Public Highways. The work was light, which allowed Glinka to settle into the life of a musical dilettante, frequenting the drawing rooms and social gatherings of the city. He was already composing a large amount of music, such as melancholy romances which amused the rich amateurs. His songs are among the most interesting part of his output from this period.
In 1830, at the recommendation of a physician, Glinka decided to travel to Italy with the tenor Nikolai Kuzmich Ivanov. The journey took a leisurely pace, ambling uneventfully through Germany and Switzerland, before they settled in Milan. There, Glinka took lessons at the conservatory with Francesco Basili, although he struggled with counterpoint, which he found irksome. Although he spent his three years in Italy listening to singers of the day, romancing women with his music, and meeting many famous people including Mendelssohn and Berlioz, he became disenchanted with Italy. He realized that his mission in life was to return to Russia, write in a Russian manner, and do for Russian music what Donizetti and Bellini had done for Italian music. His return route took him through the Alps, and he stopped for a while in Vienna, where he heard the music of Franz Liszt. He stayed for another five months in Berlin, during which time he studied composition under the distinguished teacher Siegfried Dehn. A Capriccio on Russian themes for piano duet and an unfinished Symphony on two Russian themes were important products of this period.
When word reached Glinka of his father's death in 1834, he left Berlin and returned to Novospasskoye.
While in Berlin, Glinka had become enamored with a beautiful and talented singer, for whom he composed Six Studies for Contralto. He contrived a plan to return to her, but when his sister's German maid turned up without the necessary paperwork to cross to the border with him, he abandoned his plan as well as his love and turned north for Saint Petersburg. There he reunited with his mother, and made the acquaintance of Maria Petrovna Ivanova. After he courted her for a brief period, the two married. The marriage was short-lived, as Maria was tactless and uninterested in his music. Although his initial fondness for her was said to have inspired the trio in the first act of opera A Life for the Tsar (1836), his naturally sweet disposition coarsened under the constant nagging of his wife and her mother. After separating, she remarried. Glinka moved in with his mother, and later with his sister, Lyudmila Shestakova.
A Life for the Tsar was the first of Glinka's two great operas. It was originally entitled Ivan Susanin. Set in 1612, it tells the story of the Russian peasant and patriotic hero Ivan Susanin who sacrifices his life for the Tsar by leading astray a group of marauding Poles who were hunting him. The Tsar himself followed the work's progress with interest and suggested the change in the title. It was a great success at its premiere on 9 December 1836, under the direction of Catterino Cavos, who had written an opera on the same subject in Italy. Although the music is still more Italianate than Russian, Glinka shows superb handling of the recitative which binds the whole work, and the orchestration is masterly, foreshadowing the orchestral writing of later Russian composers. The Tsar rewarded Glinka for his work with a ring valued at 4,000 rubles. (During the Soviet era, the opera was staged under its original title Ivan Susanin).
In 1837, Glinka was installed as the instructor of the Imperial Chapel Choir, with a yearly salary of 25,000 rubles, and lodging at the court. In 1838, at the suggestion of the Tsar, he went off to Ukraine to gather new voices for the choir; the 19 new boys he found earned him another 1,500 rubles from the Tsar.
He soon embarked on his second opera: Ruslan and Lyudmila. The plot, based on the tale by Alexander Pushkin, was concocted in 15 minutes by Konstantin Bakhturin, a poet who was drunk at the time. Consequently, the opera is a dramatic muddle, yet the quality of Glinka's music is higher than in A Life for the Tsar. He uses a descending whole tone scale in the famous overture. This is associated with the villainous dwarf Chernomor who has abducted Lyudmila, daughter of the Prince of Kiev. There is much Italianate coloratura, and Act 3 contains several routine ballet numbers, but his great achievement in this opera lies in his use of folk melody which becomes thoroughly infused into the musical argument. Much of the borrowed folk material is oriental in origin. When it was first performed on 9 December 1842, it met with a cool reception, although it subsequently gained popularity.
Glinka went through a dejected year after the poor reception of Ruslan and Lyudmila. His spirits rose when he travelled to Paris and Spain. In Spain, Glinka met Don Pedro Fernández, who remained his secretary and companion for the last nine years of his life. In Paris, Hector Berlioz conducted some excerpts from Glinka’s operas and wrote an appreciative article about him. Glinka in turn admired Berlioz’s music and resolved to compose some fantasies pittoresques for orchestra. Another visit to Paris followed in 1852 where he spent two years, living quietly and making frequent visits to the botanical and zoological gardens. From there he moved to Berlin where, after five months, he died suddenly on 15 February 1857, following a cold. He was buried in Berlin but a few months later his body was taken to Saint Petersburg and re-interred in the cemetery of the Alexander Nevsky Monastery.
Glinka was the beginning of a new direction in the development of music in Russia Musical culture arrived in Russia from Europe, and for the first time specifically Russian music began to appear, based on the European music culture, in the operas of the composer Mikhail Glinka. Different historical events were often used in the music, but for the first time they were presented in a realistic manner.
The first to note this new musical direction was Alexander Serov. He was then supported by his friend Vladimir Stasov, who became the theorist of this musical direction. This direction was developed later by composers of "The Five".
The modern Russian music critic Viktor Korshikov thus summed up: "There is not the development of Russian musical culture without...three operas – Ivan Soussanine, Ruslan and Ludmila and the Stone Guest have created Mussorgsky, Rimsky-Korsakov and Borodin. Soussanine is an opera where the main character is the people, Ruslan is the mythical, deeply Russian intrigue, and in Guest, the drama dominates over the softness of the beauty of sound." Two of these operas – Ivan Soussanine and Ruslan and Ludmila – were composed by Glinka.
Since this time, the Russian culture began to occupy an increasingly prominent place in world culture.
en.wikipedia.org/wiki/Mikhail_Glinka
en.wikipedia.org/wiki/The_Five_(composers)
Jovem compositor e instrumentista paulistano Chico Bernardes faz o show de lançamento de seu primeiro trabalho autoral de estúdio em um espetáculo gratuito e intimista em formato voz e violão em São Paulo. 30.06.19
Mais em: rogeriostella.wordpress.com/2019/06/30/chico-bernardes-la...
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Vendedor Ambulante
Porto da Barra
Salvador
Bahia
Brasil
Pedro Pedreiro
Compositor: Chico Buarque de Hollanda
www.youtube.com/watch?v=ukyJzG9IePI
Pedro pedreiro penseiro esperando o trem
Manhã parece, carece de esperar também
Para o bem de quem tem bem
De quem não tem vintém
Pedro pedreiro fica assim pensando
Assim pensando, tudo passa
E a gente vai ficando pra trás
Esperando, esperando, esperando
Esperando o sol
Esperando o trem
Esperando o aumento
Desde o ano passado para o mês que vem
Pedro pedreiro penseiro esperando o trem
Manhã parece, carece de esperar também
Para o bem de quem tem bem
De quem não tem vintém
Pedro pedreiro espera o carnaval
E a sorte grande do bilhete pela federal
Todo mês
Esperando, esperando, esperando
Esperando o sol
Esperando o trem
Esperando o aumento para o mês que vem
Esperando a festa
Esperando a sorte
A mulher de Pedro
Está esperando um filho
Pra esperar também
Pedro pedreiro penseiro esperando o trem
Manhã parece, carece de esperar também
Para o bem de quem tem bem
De quem não tem vintém
Pedro pedreiro está esperando a morte
Ou esperando o dia de voltar pro norte
Pedro não sabe, mas talvez no fundo
Espere alguma coisa mais linda que o mundo
Maior que o mar
Mas pra que sonhar
Sei lá, no desespero de esperar demais
Pedro pedreiro quer voltar atrás
Quer ser pedreiro pobre nada mais
Sem ficar esperando, esperando, esperando
Esperando o sol
Esperando o trem
Esperando o aumento para o mês que vem
Esperando um filho pra esperar também
Esperando a festa
Esperando a sorte
Esperando a morte
Esperando o norte
Esperando o dia de esperar ninguém
Esperando enfim nada mais além
Que a esperança aflita, bendita, infinita
Do apito do trem
Pedro pedreiro pedreiro esperando
Pedro pedreiro pedreiro esperando
Pedro pedreiro pedreiro esperando o trem
Que já vem
Que já vem
Que já vem...
Cantor e compositor Jorge Vercillo apresenta o show de lançamento da turnê “A Experiência” em São Paulo. 08.04.17
Mais em: rogeriostella.wordpress.com/2017/04/09/jorge-vercillo-e-o...
Cantora e compositora Letrux apresenta o material de seu disco de estreia da carreira solo “Letrux em Noite de Climão”. São Paulo 05.07.19
Mais em: rogeriostella.wordpress.com/2019/07/05/letrux-em-noite-de...
Heitor Villa-Lobos realizava o primeiro recital com obras de sua autoria, na cidade fluminense de Nova Friburgo (RJ). Registro do compositor por Jesse A. Fernandez, em 1957. Arquivo Nacional. Fundo Correio da Manhã. BR_RJANRIO_PH_0_FOT_14946_065
Aberdeen City is steeped in history with many famous or notorious characters remembered by the city councils many plaques that are in place in numerous locations across the city .
I found this one on the wall of Robert Gordon’s University as I walked past on the 25th December 2018 , a quick snap with my iPhone to archive here in Flickr.
James Leatham.
Aberdeen-born James Leatham was a journalist and socialist who became editor of the Peterhead Sentinel in 1897.
He had been born into a Scotland wracked by social unrest, dislocated by industrialisation, and presided over by a wealthy upper class at a time when working people often had to go without.
So Leatham took to socialism and the struggle for a better, more even world. Leatham wrote a series of articles in North East Scots (aka the Doric), under the pen name Airchie Tait, which he used to comment on all manner of subjects, politics included.
Leatham speaks about the working life (in Hingin’ In) and the way in which many comfortable commentators (he cites writer Thomas Carlyle) wrote with hypocrisy.
He also used his article to criticise the lifestyle of Edward Saxe-Coburg-Gotha who was crowned as Edward VII in London in 1901. In his biting style Leatham commented that it must have been hard work for Edward having to tour so many foreign lands, having to wine and dine, attend plays, and meet with actresses.
In the second article (Mair Prejudeece) our writer argues for a Scottish parliament to be re-established. Devolution had formed a part of the early Labour movement programme in Scotland but once Scottish Labour was absorbed by the new British Labour Party based in London - in 1909 – devolution was often passed over or drowned in a sea of Westminster politics.
Leatham’s dream would not become reality until 1997, after many years of political struggle, and prevarication on the part of British parties who regarded Scottish devolution with indifference
James Leatham, MBE, JP, was born in Aberdeen on 19th December 1865.
He completed his apprenticeship as a printer and compositor there, before working in the north of England and in Peterhead, Aberdeenshire, where he founded and edited the Peterhead Sentinel.
He set up the Cottingham Press in Yorkshire from which he edited and published The Gateway, a monthly magazine with a wide circulation amongst Scots at home and abroad, first issued in 1912, which he continued to publish from the Deveron Press, Turriff until a few months before his death in December 1945.
Leatham was a member of Turriff Town Council, with short breaks, for 22 years, and served several terms as Provost; he received the award of MBE in 1942.
The author of many books and pamphlets on political, social and literary subjects issued from his own presses, he also contributed to the Aberdeen Press and Journal and to political periodicals.
Over 60 of his works are to be found in the Local Collection in Aberdeen University Library, including local titles such as James Leatham and others, Petri Promontorium: or, Peterhead and the Howes o' Buchan (Peterhead: Sentinel, 1900); a biography of his friend, David Scott, Daavit: the True Story of a Personage, 2nd ed. (Turriff: Deveron, 191-?); The Style of Louis Stevenson, 3rd ed. (Turriff: Deveron, 1925), which he wrote with Gavin Greig (1856-1914), ballad collector; and a complete run of The Gateway, from 1912 - 1945.
#He was in correspondence with many persons well known in political and literary circles who contributed or subscribed to The Gateway, including James Ramsay MacDonald (1866 - 1937), Miss May Morris (d 1938), daughter of William Morris (1834 - 1896), and Lord Boothby (1900-1986).