Hopkinson Smith Wurde 1946 in New York Geboren

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Hopkinson Smith wurde 1946 in New York geboren. Nach seinem mit Auszeichnung abgeschlossenen Musikwissenschaftsstudium in Harvard kam er 1973 nach Europa, um in Katalonien bei Emilio Pujol und in Basel bei Eugen Dombois zu studieren. Basel, Mekka der Alten-Musik-Szene, ist mittlerweile zu seiner zweiten Heimat geworden. Dort lebt er und lehrt an der berühmten Schola Cantorum Basiliensis. Er ist der unumstrittene Lautenmeister unserer Zeit: Sowohl als Solist als auch gemeinsam mit Spitzenensembles der Alten Musik ist er regelmäßig auf Konzerttournee. Er war u.a. Gründungsmitglied von Hespèrion XX (Montserrat Figueras, Jordi Savall, Lorenzo Alpert) und arbeitete 10 Jahre mit dem Ensemble. Seit Mitte der 80er-Jahre beschäftigt sich Hopkinson Smith primär mit Solomusik für alte Zupfinstrumente wie der Vihuela, der Renaissance- und Barocklaute, der Theorbe und mit Renaissance- und Barockgitarren. Zahlreich sind seine Platten- und CD-Einspielungen (ASTREE) mit Musik des Mittelalters, der Renaissance und des Barock. Seine Aufnahme mit Bachs gesamtem Lautenwerk wurde mit dem Grand Prix du Disque ausgezeichnet. 2000 wurde seine Einspielung der Lautenarrangements von Bach von der Presse weltweit hoch gelobt. Den Diapason d’Or erhielten die Einspielungen für Renaissance-Laute der Werke von Pierre Attaingnant, seine CDs mit Musik von John Dowland und Francesco da Milano. Hopkinson Smith ist mit Auftritten wie auch mit Meisterklassen in ganz Europa, Amerika, Australien, Korea und Japan präsent. 2007 und 2009 gab er Konzerte und Workshops in Palästina unter der Schirmherrschaft der Barenboim-Said- Stiftung und des Kunstrates der Schweiz. 2010 erhielt er von der italienischen Region Puglia eine Auszeichnung unter dem Titel: „Maestro dei maestri, massimo interprete delle musiche per liuto dell’antica Europa Mediterranea“. .

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Hopkinson Smith Bei «Barock in Zürich» Riecht Gut – Vom Roman
48Mittwoch, 21.April 2004 Nr.92 ZÜRCHER KULTUR NeuöZürcörZäitung Riecht gut – Vom Roman zur Bühne im Schiffbau Steps «Romane/Stücke/Autoren» titelt die Schauspielhaus-Institution «Salon in Ereignishaftes Tanzen der Box» im April, nachdem sie 2004 Das Aterballetto im Theater Casino Zug im Januar mit einem Musikschwer- Kaum hatte die Vorstellung der Compagnia punkt eröffnet worden ist. Es geht um Aterballetto aus Reggio Emilia im Zuger Theater neue Stücke, junge Dramatiker und, Casino begonnen, gab es auch schon lebhaften vor allem, um den Versuch, Romane Szenenapplaus, so präsent und formklar war der an sich unspektakuläre Auftakt zu William For- auf die Bühne zu bringen. Daniela sythes «Steptext» getanzt worden. Und in allen Kranz und Jenke Nordalm installieren drei Stücken der Aufführung bewährte sich durch- im Atrium im Schiffbau Virginia gehend eine unglaubliche tänzerische Dynamik in Woolfs «To the Lighthouse». der überlegenen Beherrschung spannungsvoller Formen einer freien, modern klassischen Bewe- Kennen gelernt haben sich die beiden Deut- gungsgestaltung. schen am Theater Basel, bei Stefan Pucher. Ein Glücks-Treffer für die jungen Regisseurinnen, die Bewegungssprache nun schon seit vier Jahren zusammenarbeiten. Die den Abend beschliessende «Cantata» «Wir trennen uns, sobald wir einander beschrän- wurde so zu einem reinen Tanzfest. Mauro Bi- ken statt befruchten – aber zurzeit sieht es nicht gonzetti, der zugleich der künstlerische Leiter der danach aus», lacht Daniela Kranz (*1968), die Truppe ist, hat zu «originaler und traditioneller gerne in aller Ruhe noch etwas nachschiebt, wenn Musik aus Süditalien» (temperamentvoll live auf die flinke Jenke Nordalm (*1972) ihr Antwort- der Bühne dargeboten vom Gruppo Musicale gebäude bereits bis in die letzte Dachschindel er- Die Regisseurinnen Daniela Kranz (l.) und Jenke Nordalm vor ihren Proben in Zürich.
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Hopkinson Smith
NP Hoppy 21 jan:Hoppy 21 jan Venise 11/01/07 17:11 Page 1 Jean-Philippe Billarant, Président du Conseil d’administration Laurent Bayle, Directeur général Dimanche 21 janvier Hopkinson Smith Dans le cadre du cycle Venise Du mardi 16 au mercredi 24 janvier | Dimanche 21 janvier Vous avez la possibilité de consulter les notes de programme en ligne, 2 jours avant chaque concert, à l’adresse suivante : www.cite-musique.fr La librairie-boutique reste ouverte jusqu’à la fin de l’entracte. Un stand de vente est disponible dans le hall à l’issue du concert. Hopkinson Smith Hopkinson NP Hoppy 21 jan:Hoppy 21 jan Venise 11/01/07 17:11 Page 2 Cycle Venise | DU MARDI 16 AU MERCREDI 24 JANVIER Les deux Venise musicales Contrairement aux idées reçues, peu de villes Aujourd’hui, c’est bien le silence qui hante musicales au monde ont autant changé que Venise. les touristes et les Vénitiens pensifs et méditatifs. La ville qu’aujourd’hui nous visitons pour trouver Lorsque Nono parle de l’influence de le silence est la même que les étrangers visitaient l’environnement sonore de Venise sur son autrefois pour s’immerger dans un fleuve musical imagination musicale, surtout dans les œuvres toujours en crue. La richesse de la vie musicale de sa dernière période, il se réfère justement ne dérivait pas seulement de la concentration à ce silence permettant de percevoir les subtiles exceptionnelle de théâtres d’opéra après leur métamorphoses des résonances des cloches ouverture au public en 1637, ainsi que d’églises, ou d’autres sonorités lagunaires selon les saisons d’institutions religieuses et de palais accueillant et les conditions atmosphériques.
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THOMAS DUNFORD MENU › TRACKLIST › Français › English › Deutsch
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Template Newsletter
If you can't read the graphics, please download the pdf version here. SWISS CULTURAL EVENTS IN AUSTRALIA September 2019 - January 2020 UPCOMING / ONGOING EVENTS Dates, locations and ticket prices are subject to change. Please confirm before visiting events MUSIC World renowned Lutenist Hopkinson Smith Australia Tour 2019 "Mad Dog: The Elizabethan Lute" Page | 1 Biography Born in New York in 1946, Swiss-American lutenist Hopkinson Smith graduated from Harvard with Honors in Music in 1972. In Europe, he worked with Emilio Pujol, a great pedagogue in the highest Catalan artistic tradition, and with the Swiss lutenist, Eugen Dombois, whose sense of organic unity between performer, instrument, and historical period has had lasting effects on him. He has been involved in numerous chamber music projects and was one of the founding members of the ensemble Hespèrion XX. Since the mid-80’s, he has focused almost exclusively on the solo repertoires for early plucked instrument, producing a series of prize-winning recordings for Astrée and Naïve, which feature Spanish music for vihuela and baroque guitar, French lute music of the Renaissance and baroque, English and Italian music of the 16th early 17th century and music from the German high baroque. The recording of his lute arrangements of the Bach solo violin Sonatas and Partitas, released in the year 2000, has been universally acclaimed by the press. Gramophone magazine called it “the best recording of these works on any instrument”. A Dowland recording, released in early 2005, on a Diapason d’Or and was called ‘wonderfully personal’ in a review in the New York Times.
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Nacido En Nueva York En 1946, Hopkinson Smith Se Graduó En Música Con Honores En La Universidad De Harvard En 1972
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Guidelines for Transcribing Baroque Lute Music for the Modern Guitar, Using Silvius Leopold Weiss's Sonata
Guidelines for Transcribing Baroque Lute Music for the Modern Guitar, Using Silvius Leopold Weiss's Sonata Item Type text; Electronic Dissertation Authors Serrano Munoz, Jaime Renato Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 17:46:29 Link to Item http://hdl.handle.net/10150/595984 GUIDELINES FOR TRANSCRIBING BAROQUE LUTE MUSIC FOR THE MODERN GUITAR, USING SILVIUS LEOPOLD WEISS’S SONATA 36 (FROM THE DRESDEN MANUSCRIPT) AS A MODEL by Renato Serrano __________________________ Copyright © Renato Serrano 2016 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2016 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the document prepared by Renato Serrano titled Guidelines for Transcribing Baroque Lute Music for the Modern Guitar, Using Silvius Leopold Weiss’s Sonata 36 (from the Dresden Manuscript) as a Model, and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _______________________________________________________________________ Date: January 6, 2016 Thomas Patterson _______________________________________________________________________ Date: January 6, 2016 Carrol McLaughlin _______________________________________________________________________ Date: January 6, 2016 Philip Alejo Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College.
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