64 Results for : declamation

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    Contes de ma mere l'Oye 1697 - de Charle
    Eugene Green (Declamation baroque)
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    Sacred Choruses/Choeurs Sacras
    Robert Ingari "Sacred Choruses" Robert Ingari is the director of choral activities at l'Université de Sherbrooke, Quebec, where he has developed a unique and innovative French-speaking masters degree program in choral conducting. He is also the artistic director of l'École d'été de chant choral, a week-long summer choral intensive where his students, joined by choristers from around Quebec, study, prepare and perform choral repertoire of all styles and periods. Before coming to l'Université de Sherbrooke, he was an assistant professor at the Schulich School of Music at McGill University in Montreal where he conducted choral ensembles and taught conducting. Ingari is an active choral clinician and guest conductor, sought after for his pedagogical ingenuity and dynamic approach to choral rehearsing. As a composer, Ingari has composed choral works of varying styles and difficulty for unaccompanied voices as well as works for choir and instrumental accompaniment including keyboard, marimba, string orchestra and chamber orchestra. His music has been praised for it's lyricism, rich sonorities and expressive power. Notes Psalm 23, composed in 2006 for Le Choeur Classique de Montréal, is a cantata in five movements for soprano and tenor soloists, choir and string orchestra. The first movement, which sets the first three lines of the psalm, is a slow movement for chorus and orchestra, whose poignant dissonances and widely spaced chords express the calm assurance of the text. In the second movement for two soloists, the pizzicato in the strings evokes a slow, determined march to the text "Yea, though I walk through the valley of the shadow of death, I will fear no evil". In "Prayers", the central movement played by the orchestra alone, we hear a regal accompaniment, which turns around a series of rising and falling melodic arches played by the violins giving a sense of pleading and questioning. The counterpoint and soaring melodies of the fourth and fifth movements make for an emotionally charged tour de force where choir, soloists and orchestra unite in a Handelian display of grandeur to express the final lines of the psalm. Three pieces for choir and marimba was composed in 2009 at the request of Mario Boivin, marimbiste and colleague of Ingari at l'Université de Sherbrooke. The three works are settings of sections of Psalms 100, 102 and 150 respectively. In the first, "Make A Joyful Noise", the virtuosic linear writing for marimba interspersed with the driving rhythms of the choral writing makes for an exciting musical celebration. The middle section slows as the choir sings the words "Come before his presence with singing" followed by a gradual return to the music of the first section. In "Hear My Prayer" the mantra-like repetition of a motive sung on "ah" becomes the accompanying backdrop to a series of vocal supplications expressed by widely spaced sonorities and colorful harmonies. The musical drama is enhanced by frequent interjections by the marimba. In "Praise Ye The Lord" the dance-like text declamation in the voices is accompanied by a forward moving rhythmic pattern of eighth-note scale passages in 7/8 played on the marimba. Here again the writing for the marimba is virtuosic, making for an exhilarating finale to the set of three pieces. Dona nobis pacem was originally composed and published in 1994 as a work for chorus with keyboard accompaniment. In 2000, it was rearranged for chorus and string orchestra and it is this version that appears on this recording. A unique characteristic of the work is that it remains entirely in the scale of G major without a single accidental. The melodic and harmonic interest is found instead in the subtle use of dissonance and the addition of seconds and ninths to the chord structures. Tension is also established and maintained by the gradual ascent in vocal range, volume and intensity, toward a climax where the choir cries out in a plea for peace, only to descend back to the original music of the opening music.
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    VCPF- Great Cello Music of the 20th Century
    Album Description Internationally acclaimed cellist Cecylia Barczyk teams up with colleague Reynaldo Reyes, pianist, in the new CD 'VCPF,' a selection of the best modern cello works. VCPF is the first and only available CD recording of Krzysztof Penderecki's Capriccio per Siegfried Palm, Suite Francaise by Poulenc, Sonata for Cello Solo by Prokofiev, and VCPF by Gordon Cyr, which was composed especially for Barczyk and Reyes. Also included are Witold Lutoslawski's Grave, and Sonata for cello and Piano by Elliott Carter. Elliott Carter attended Cecylia Barczyk's New York Debut at Alic Tully Hall, and wrote, 'Thank you very much for the beautiful performance of my Cello Sonata at your Tully Hall recital on February 7, 1981. Like all the performances on your program, it contained cello playing of the highest quality, rhythimic vitality, and loveliness- when needed-and also moments of sensuously expressive playing that was highly communicative and effective. I am most gratefrul for your devotion and understanding of my work, and your ability to put it across to the audience. CECYLIA BARCZYK CELLIST Cecylia Barczyk has achieved international recognition as a complete artist, successful teacher, and great humanitarian. She has given concerts, recitals, and master classes throughout Europe, Asia and both North and South America, including appearances with prominent orchestras in Baltimore, Berlin, Budapest, Prague, London, Sofia, Bucharest, Moscow, St. Petersburg, Boston, New York, Tel Aviv, Beijing, Shanghai, Taiwan, Tokyo, Seoul, Jakarta, Salvador, Warsaw, and Cracow. Ms. Barczyk has frequently performed on radio and television in the USA and abroad. Her recordings, particularly of works by Bach, Chopin, Rachmaninoff, Lutoslawski, Penderecki, Carter, Crumb, and Rozycki, have been highly valued by experts and greatly appreciated by music lovers in many lands. Over the years, Cecylia Barczyk has received numerous awards, honors and distinctions. She won top prizes in prestigious music competitions including the Danczowski Cello Competition (Poznan), the Pablo Cassals International Cello Competition (Budapest), the Tchaikovsky International Cello Competition (Moscow), the Aldo Parisot International Competition (Brazil), the J.S. Bach International Competition (Leipzig), the Cassado International Cello Competition (Florence), and the W.C. Byrd Young Artists Competition (Michigan). For her musical and pedagogical achievements, she has received many awards and honors from professional, cultural, and government institutions in the U.S.A., Poland, Germany, Korea, Mexico, China, and Indonesia. The American String Teachers Association awarded her the title Best Teacher of the Year (1995). The Tianjin Conservatory of Music, China granted her the title Distinguished Honorary Professor. The International Friends of the Cello Association granted her the Award for Great Achievements in Cello Music, The International Music Consortium honored her with the Paderewki Medal for Achievements in Music), and the Minister of Culture of the Republic of Poland gave Cecylia Barczyk the Medal for Outstanding Contributions to Society and Culture. Cecylia Barczyk began studying cello at a young age and soon drew attention of great teachers. Among her mentors were Marian Miendlar, Kazimierz Wilkomirski, Natalya Gutman and Aldo Parisot. Upon graduating with highest honors from the Silesian School of Music in Bytom and the Chopin Academy of Music in Warsaw, she received a grant for postgraduate studies at the Tchaikovsky Conservatory of Music in Moscow. In 1977, on the invitation of Professor Parisot, she came to the U.S.A. to study and work at the Yale School of Music. Since 1983, Cecylia Barczyk is Professor of Cello at The University of Maryland System - Towson University, continuing her solo career while educating young cellists from virtually every part of the globe. Several of her students have won national/international prizes, e.g. Rafal Kwiatkowski, winner of the Young Concert Artists International Competition and winner of the international cello competitions in Munich, Santiago, and Helinski. Since 1986, she has also been the Director of the International Cello Festival at Towson University. Barczyk's recordings by Muza, ICRecords, Melodya, CRS, Dux, Nexus etc (e.g. VCPF, Belle Epoque, Music for Peace in the Middle East, In the Wonderland of Music) ) have been enthusiastically received by the public and reviewers. She has also been the moving power of the World Cello Congresses in St.. Petersburg and Baltimore. Recently, Cecylia Barczyk toured Germany, Switzerland, Poland, Jordan, Egypt, Thailand, Israel, Indonesia, Canada, Scandinavia, Korea, and Japan. In 2003 she was appointed Music Director of the International Music Institute at Coolfont, USA. FROM REVIEWS: 'One could write a long story about Cecylia Barcky's unrestrained technique, beautiful sound, musical sensitivity, and unlimited creativity...She is a virtuoso in every way!' The Warsaw Life (POLAND) 'Cecylia Barczyk played with an appealing intensity...' The New York Times (USA) 'The concert was a musical heaven. She deeply impressed the audience with her vituosity.' China Music P.R. (CHINA) 'She is the Grande Dame of classical music...' Gwiazda Polarna (USA) 'Cecylia Barczyk is not only a magnificent cellist, but also a most eminent teacher.' The Jakarta Post (INDONESIA) 'Barczyk carried it all off with an ease and grace that would compare with a young Pablo Casals... She let her flair for showmanship come to the surface so that it came off with a spectacular series of fireworks that was little short of miraculous... She was bewitching that left one gaping in disbelief.' Waterbury American (USA) 'Her cello sounded like an oratorical sppech full of dramatic and sublime declamation, like a chant filled with lofty poetry and deep philosophy.' Sovietskaya Cultura (RUSSIA) 'Thank you very much for the beautiful performance of my cello sonata at your Tully Hall recital...It contained cello playing of the highest quality...It was most highly communicative and effective...I am most grateful for your devotion and understanding of my work and your outstanding ability to put it across to the audience.' Elliott Carter (USA) 'At the Japan Teleman Monthly concert she proved herself a brilliant virtuoso.' Mainichi (JAPAN) 'What a wonderful performance!' Times (England) 'Cecylia indeed is a top cellist and teacher. We all admire her achievements and humility.' Aldo Parisot (USA) 'Her performance was awesome...her closing number by the Polish composer left me breathless...' The Leader Post (CANADA) ''Cecilca', as Rostropovich respectfully has called her, deeply impressed the audience from the first moment of touching her cello... Indeed the concert has demonstrated both the extraordinary mastery of the cello as well as the superintelligence and emotionally balanced communicative personality of Cecylia Barczyk... She is the world's First Lady of the Cello.' Simon Krosky, (RUSSIA) 'Ms. Barczyk, 'Lord and Master' of her instrument, gave a most scintillating renedition of the Dvorak Concerto... She delivered her solo lines with expressive sensitivity, technical virtuosity, a passionate singing tonal coloring, and an obviously ardent and intelligent communication...' The Manila Times (THE PHILIPPINES) 'Barczyk is a lyrical rather than a bold cellist... She played with sympathy, intensity, touching sincerity, and great authority...' The Washington Post (USA) 'Barczyk gave an outstanding interpretation of Chopin's works at the Schauspielhaus concert.' Berliner Morgenpost (GERMANY) 'It was Cecylia Barczyk's love for her instrument that gave birth to the International Cello Festival in Maryland... Obviously her virtuosity is personal as well as musical.' The Baltimore Sun (USA) 'Cecylia Barczyk is a superb musician. Her playing is both dynamic and intelligent.' Die Union Dresden (GERMANY) 'Magnificent interpretation of Bach! Excellent techn
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    La Conversation,stücke Für Laute Und Deklamation
    Eugene Greens declamation brings to life Théophile de Viaus poems. De Visées music had no other audience but those circles of aesthetes, lords, friends and poets. Its only aim was to create emotion. Emotion of the utmost delicacy.
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    • Price: 13.03 EUR excl. shipping

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