Arthur Honegger König David Le Roi David Mp3, Flac, Wma

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Arthur Honegger König David Le Roi David mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical / Stage & Screen Album: König David Le Roi David Country: Germany Released: 1987 MP3 version RAR size: 1988 mb FLAC version RAR size: 1615 mb WMA version RAR size: 1969 mb Rating: 4.5 Votes: 850 Other Formats: RA MOD XM ADX AUD AIFF VOC Tracklist A Erster Teil (Nr. 1 - 13) B Zweiter Teil (Nr. 14 - 18) C Dritter Teil (Nr. 19 - 27) D1 Pastorale d'Été (Poème Symphonique [1920]) D2 Chant de Joie D3 Pacific 231 (Mouvement Symphonique Nr. 1 [1923]) Notes Gatefold with text in German. Other versions Category Artist Title (Format) Label Category Country Year Honegger*, Eda- Pierre*, Senn*, Raffalli*, Honegger*, Eda- Mesguish*, Pierre*, Senn*, Gaillard*, Czech Raffalli*, Philharmonic 1112 Mesguish*, 1112 Chorus, The Czech 4661-62, Gaillard*, Czech 4661-62, Philharmonic Supraphon, 1112 Philharmonic 1112 Czechoslovakia 1987 Orchestra, Serge Supraphon 4661-62 Chorus, The 4661-62 Baudo - Le Roi ZA Czech ZA David / Mouvement Philharmonic Symphonique Nr. 3 Orchestra, Serge / Prelude Pour »La Baudo Tempete« De Shakespeare (2xLP, Dig + Box) Honegger*, Eda- Honegger*, Eda- Pierre*, Senn*, Pierre*, Senn*, Raffalli*, Raffalli*, Mesguish*, Mesguish*, Gaillard*, Czech Gaillard*, Czech 11 0132-2 Philharmonic 11 0132-2 Philharmonic Supraphon Czechoslovakia Unknown 231 Chorus, The Czech 231 Chorus, The Philharmonic Czech Orchestra, Serge Philharmonic Baudo - Le Roi Orchestra, Serge David (CD, Album Baudo + Box) Related Music albums to König David Le Roi David by Arthur Honegger Arthur Honegger - Chorale Elisabeth Brasseur, Orchestre Du Théâtre National De L'Opéra de Paris, Serge Baudo - Le Roi David Serge Prokofiev, Czech Philharmonic Orchestra, Karel Ančerl - Romeo And Juliet (Scenes From The Ballet, Op. 64, Nos. 1 And 2) Dvořák / Josef Chuchro / Czech Philharmonic Orchestra / Václav Neumann - Cello Concerto In B Minor Honegger, Eda-Pierre, Senn, Raffalli, Mesguish, Gaillard, Czech Philharmonic Chorus, The Czech Philharmonic Orchestra, Serge Baudo - Le Roi David Honegger - Pacific 231 César Franck, Czech Philharmonic Chorus, Prague Symphony Orchestra Conductor: Jean Fournet - Psyché Debussy - Czech Philharmonic Orchestra, Serge Baudo - Prelude Á L’Aprés-midi D’Un Faune, 1st Rhapsody For Clarinet, "Les Jeux" Janáček - Mša Glagolskaja (Glagolitic Mass).

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Reinhardt's Choice: Some Alternatives to Weill?
DAVID DREW Reinhardt's Choice: Some Alternatives to Weill? The pretexts for the present paper are the author's essays >Der T#g der Ver heissung and the Prophecies of jeremiah<, Tempo, 206 (October 1998), 11- 20, and >Der T#g der Verheissung: Weill at the Crossroads<, 1impo, 208 (April 1999), 335-50. As suggested in the preface to the second essay, the paper is intended to function both as a free-standing entity and as an extended bridge between the last section of the earlier essay and the first section of its successor. According to Meyer Weisgal's detailed account of the origins of The Eter nal Road, Reinhardt had no inkling of his plans until their November 1933 meeting in Paris.1 Weisgal began by outlining the idea of a biblical drama that would for the first time evoke the Old Testan1ent in all its breadth rather than in isolated episodes. At the end of his account, according to Weisgal, Reinhardt sat motionless and in silence before saying »very sim ply<< »But who will be the author of this biblical play and who will write the mu sic?<< . »You are the master<< , I said, ••It is up to you to select them<<. Again there was a long uncomfortable pause and Reinhardt said that he would ask Franz Werfel and Kurt Weill to collaborate with him. With or without prior notice2, the problems inherent in Weisgal's com mission were so complex that Reinhardt would have had good reason for Meyer W. Weisgal, >Beginnings of The Eternal Road<, in: T"he Etemal Road (New York 1937 - programme-book for the production by MWW and Crosby Gaige at the Man hattan Opera House), pp.
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Paris, 1918-45
un :al Chapter II a nd or Paris , 1918-45 ,-e ed MARK D EVOTO l.S. as es. 21 March 1918 was the first day of spring. T o celebrate it, the German he army, hoping to break a stalemate that had lasted more than three tat years, attacked along the western front in Flanders, pushing back the nv allied armies within a few days to a point where Paris was within reach an oflong-range cannon. When Claude Debussy, who died on 25 M arch, was buried three days later in the Pere-Laehaise Cemetery in Paris, nobody lingered for eulogies. The critic Louis Laloy wrote some years later: B. Th<' sky was overcast. There was a rumbling in the distance. \Vas it a storm, the explosion of a shell, or the guns atrhe front? Along the wide avenues the only traffic consisted of militarr trucks; people on the pavements pressed ahead hurriedly ... The shopkeepers questioned each other at their doors and glanced at the streamers on the wreaths. 'II parait que c'ctait un musicicn,' they said. 1 Fortified by the surrender of the Russians on the eastern front, the spring offensive of 1918 in France was the last and most desperate gamble of the German empire-and it almost succeeded. But its failure was decisive by late summer, and the greatest war in history was over by November, leaving in its wake a continent transformed by social lb\ convulsion, economic ruin and a devastation of human spirit. The four-year struggle had exhausted not only armies but whole civiliza tions.
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Ian Davidson, Composer
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Boston Symphony Orchestra Concert Programs, Season 129, 2009-2010
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Maximum Mark: 60
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Honeggerus 18/06/2004 09:44Am Page 8
555974 bk HoneggerUS 18/06/2004 09:44am Page 8 dennoch sorgenvolles Thema wird eingeführt, zivilisierte Menschheit beschrieb. Das Hornthema kehrt Arthur alternierend zwischen Streichern und Holzbläsern. In nun mit einer Gegenmelodie in den Streichern zurück; seinem Verlauf entstehen neue Gestaltungselemente, anschließend folgt erneut das Marschthema und mit ihm vor allem in einer ausgesprochen anrührenden Episode der Höhepunkt des Werks: der von Blechbläsern und HONEGGER für Violinen und gestopfte Trompeten. Akkorde im Schlagzeug herausgehämmerte Marschrhythmus tiefen Bassregister des Klaviers lassen den zentralen explodiert in einem dissonanten Akkord des gesamten Höhepunkt vorausahnen, der sich stetig und entschieden Orchesters, bevor er in Stille versinkt. Aus diesem Symphony No.3 ‘Liturgique’ herausbildet, bevor er in der leidenschaftlichen Zusammenprall steigt eine expressiv-warme Melodie in Wiederkehr der ursprünglichen Thematik kulminiert. Bratschen und Celli hervor: der Wunsch der leidenden Es fehlt eine eigentliche Reprise, und sogar eine Menschheit nach Frieden. Während der Pacific 231 • Pastorale d’été • Rugby drohende weitere Klimax wird bewusst vermieden, Marschrhythmus noch immer leise in den Pauken wodurch der Satz in einem ruhigen, wenngleich offenen vernehmbar ist, erklingt noch einmal eine Reminiszenz New Zealand Symphony Orchestra Schluss wie mit einem Fragezeichen endet – noch der fragenden Elemente vom Ende des vorigen Satzes. verstärkt durch die Rückkehr des „Vogelthemas“ in der Das „Vogelthema“ in Piccoloflöte und
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Un Entretien B"Vee ••• Arthur HONEGGER ~ - Allo! M
-919-=- - Un entretien B"Vee ••• Arthur HONEGGER ~ - Allo! M. Honegger? - C' est lui~même... - Voilà Chevaillier, mon cher Honegger, je voudrais bien faire un Entretien avec ... vous pour le Guide du conce.rt. Un petit rendez~vous, s. v. p. \ - Diable! C'est que je suis un peu bousculé. Je pars demain pour Barcelone ... - Ça- -ne fait rien ... - Eh bien! voulez~vous tout de suite ? .. - Je saute dans un taxi ... - Prenez plutôt le métro. Une demi~heure après. Le modeste cabinet de travail du jeune maitr!;. ,Une petite biblio~ thèque avec deux locomotives·· dessus, des rayons bourrés de livres, un ,piano à qlleue, nu 'bureau, un fauteuil, le tout par~ semé de papiers témoins d'un labeur incessant. Pas de bluff! lei l'on sent bien que l'on ne pense qu'à une seule chose : le travail. Par conséquent, ne gaspillons pas un temps aussi précieux et menons l'interro~ gatoire, serré. R - Vous revenez d'Amé •• riqu~ ? Parlons~en ... - OUi... Et entre temps je reviens également de Stras~ Arthur HONEGGER bourg où .l'on a' monté Judith. -~~~~? , - 2 janvier,28 mars. Et que de villes! New-York, Boston, Chicago, Syracuse ... - Syracusè ? \ _ _ - Mais oui, vous savez bien, à côté de Rome •.. - De Rome?! - Mais oui, villes -américaines ! Comme je connais mal ma géographie! -- San Francisco, Los Angeles, le Texas, la Nouvelle~Orléans ... - Quelles œuvres ? . - Orchestre, musique de chambre ... - Et votre impression ? - Public enthousiaste, accueil exquis. Mais j'ai l'impression que les Américains sont _ avant tout des gens pleins de bonne volonté, qui ont une confiance touchante dans les trom~ ficiled'aller,pettes de la Renomméepassant avecet quile sourirefont preuvede Stravinskyd'un éclectismeà Toselliau-delà..
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Arthur Honegger
Arthur Honegger “Honegger” redirects here. For other uses, see Honegger 1 Biographyy (surname).. Arthur Honegger ( (French: [aʁtyʁ ɔnɛɡɛːʁ]; 10 March Born Oscar-Arthur Honeggerr (the first name was never used) to Swiss parents in Le Havre, France, he initially studied harmony and violin in Le Havre. After studying fforor twtwoo yeyearsarsatat thetheZuricichh Conserservavatortoryy (mergrgeded inin 19999 into the School of Music, Drama, and Dance (HMT), it- seselflf memergrgededinin20200707inintoto ththee ZurichUniversity of theArts (ZHdK)), he enrolled in the Paris Conservatoire from 1911 to 1918, studying with both Charles-Marie Widor and Vincent d'Indy. He made his Paris compositiitional debut in 1916 and in 1918 wrote the ballet Le dit des jeux du monde, generally considered to be his first char- acteristic work. In 1926 he married Andrée Vaurabourg,, a pianist and fellow student at the Paris Conservatoire,, on the condition that they live in separate apartments. They lived apart for the duration of their marriage, with the exceptions of one year from 1935 to 1936 following Vaurabourg’s injury in a car accident, and the last year of Honegger’s life, when he was not well enough to live alone. They had one daughter, Pascale, born in 1932. Honeggeralsohad aa son, Jean-Claude (1926–2003), with the singer Claire Croiza.. In the early 1920s, Honegger shot to fame with his “dra- matic psalm” Le roi David (“King David”), which is still in the choral repertoire. Between World War I and World War II, Honegger was very prolific. He composed the music for Abel Gance’s epic 1927 film, Napoléon.. He composed nine ballets and three vocal stage works, amongst other works.
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Riccardo Muti Conductor Honegger Pacific 231 Bates Alternative
Program One HunDReD TwenTy-FiRST SeASOn Chicago symphony orchestra riccardo muti Music Director Pierre Boulez Helen Regenstein Conductor emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, February 2, 2012, at 8:00 Friday, February 3, 2012, at 8:00 Saturday, February 4, 2012, at 8:00 Tuesday, February 7, 2012, at 7:30 riccardo muti Conductor Honegger Pacific 231 Bates Alternative Energy Ford’s Farm, 1896— Chicago, 2012 Xinjiang Province, 2112— Reykjavik, 2222 Commissioned for the Chicago Symphony Orchestra by the Louise Durham Mead Fund for New Music World premiere IntermIssIon Franck Symphony in D Minor Lento—Allegro non troppo Allegretto Allegro non troppo CSO Tuesday series concerts are sponsored by United Airlines. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. Comments by PHi LLiP HuSCHeR arthur Honegger Born March 10, 1892, Le Havre, France. Died November 27, 1955, Paris, France. Pacific 231, mouvement symphonique no. 1 have always had a passion for and served as its spiritual mentor. Ilocomotives,” Arthur Honegger In I Am a Composer, he writes, “I wrote after Pacific 231, his high- am what the language of passports speed tone poem named after a calls of ‘dual nationality,’ that is to locomotive, became a runaway hit. say, a combination of French and “To me they are living beings, and Swiss.” Born in Le Havre, he had I love them as others love women studied composition first in Zurich, or horses.” his parents’ hometown, and then Honegger first attracted attention commuted to Paris for two years in the early twenties as a member to work at the conservatory.
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Program Notes by Michael Moore a Rose in Winter Performed December 15/16, 2000
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Program Books Haue Generous- Ly Continued Tbeir Sponsorship
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