1782
1782
178 話 b 「蜘蛛の糸は一度絡まるとなかなかとれない」
178 話 b 「蜘蛛の糸は一度絡まるとなかなかとれない」
Franz Joseph Haydn - Orlando Paladino (1782) - Cavatina for Angelica - "Palpita ad ogni istante" (Arleen Auger)
Franz Joseph Haydn - Orlando Paladino (1782) - Cavatina for Angelica - "Palpita ad ogni istante" (Arleen Auger)
"Orlando Paladino", written in 1782, was easily Haydn's most famous opera during his lifetime, with thirty performances in Esterhaza in the first two years after its composition and productions in most of Austria and Germany as well. It was originally composed to celebrate the visit of a Russian grand duke to the Esterhaza court but when that visit was canceled, the opera instead received its' premiere on Prince Esterhazy's name day. The libretto, a "drama eroicomico", gives scope to Haydn's frequently puckish sense of humor, as well as for his inventive melodic expression. Most semi-serious operas of the period typically inserted comic characters into an essentially serious story but Haydn expanded the comedy even into the more serious scenes, scenes that previous composers (Handel, Vivaldi and Haydn himself) had taken more seriously. Orlando (tenor), a nephew of Charlemagne, falls in love with the Chinese princess Angelica (soprano), who rejects his advances because she has lost her heart to Medoro (tenor), a simple knight. As a result of this rebuff, madness takes the slighted lover, and he aims to kill the young sweethearts. Additional confusion is caused by the permanently hungry squire of Orlando, Pasquale (bass), the saucy shepherdess Eurilla (soprano), who flirts with the former, and the burly King of Barbary, Rodomonte (bass), whose only desire is to kill Orlando to protect the lovers. The good sorceress Alcina (mezzo-soprano) has her work cut out to put <b>...</b>
"Orlando Paladino", written in 1782, was easily Haydn's most famous opera during his lifetime, with thirty performances in Esterhaza in the first two years after its composition and productions in most of Austria and Germany as well. It was originally composed to celebrate the visit of a Russian grand duke to the Esterhaza court but when that visit was canceled, the opera instead received its' premiere on Prince Esterhazy's name day. The libretto, a "drama eroicomico", gives scope to Haydn's frequently puckish sense of humor, as well as for his inventive melodic expression. Most semi-serious operas of the period typically inserted comic characters into an essentially serious story but Haydn expanded the comedy even into the more serious scenes, scenes that previous composers (Handel, Vivaldi and Haydn himself) had taken more seriously. Orlando (tenor), a nephew of Charlemagne, falls in love with the Chinese princess Angelica (soprano), who rejects his advances because she has lost her heart to Medoro (tenor), a simple knight. As a result of this rebuff, madness takes the slighted lover, and he aims to kill the young sweethearts. Additional confusion is caused by the permanently hungry squire of Orlando, Pasquale (bass), the saucy shepherdess Eurilla (soprano), who flirts with the former, and the burly King of Barbary, Rodomonte (bass), whose only desire is to kill Orlando to protect the lovers. The good sorceress Alcina (mezzo-soprano) has her work cut out to put <b>...</b>
- Duration: 5:11
- Published: 2009-01-15
- Uploaded: 2010-11-02
- Author: LindoroRossini
The Coronation of Tipu Sultan (1782)
The Coronation of Tipu Sultan (1782)
Tipu Sultan becomes ruler of Mysore, India. coronation ceremony. Second Mysore War Tippu Sultan led a large body of troops in the Second Mysore War, in February 1782, and defeated Braithwaite on the banks of the Kollidam. Although the British were defeated this time, Tippu Sultan realized that the British were a new kind of threat in India. Upon becoming the Sultan after his father's death later that year, he worked to check the advances of the British by making alliances with the Marathas and the Mughals. Tippu Sultan had defeated Colonel Braithwaite at Annagudi near Tanjore on 18 February 1782. The British army, consisting of 100 Europeans, 300 cavalry, 1400 sepoys and 10 field pieces, was the standard size of the colonial armies. Tippu Sultan had seized all the guns and taken the entire detachment prisoners. In December 1781 Tippu Sultan had successfully seized Chittur from the British. Tippu Sultan had thus gained sufficient military experience by the time Haidar Ali died in December 1782. Source: Wikipedia
Tipu Sultan becomes ruler of Mysore, India. coronation ceremony. Second Mysore War Tippu Sultan led a large body of troops in the Second Mysore War, in February 1782, and defeated Braithwaite on the banks of the Kollidam. Although the British were defeated this time, Tippu Sultan realized that the British were a new kind of threat in India. Upon becoming the Sultan after his father's death later that year, he worked to check the advances of the British by making alliances with the Marathas and the Mughals. Tippu Sultan had defeated Colonel Braithwaite at Annagudi near Tanjore on 18 February 1782. The British army, consisting of 100 Europeans, 300 cavalry, 1400 sepoys and 10 field pieces, was the standard size of the colonial armies. Tippu Sultan had seized all the guns and taken the entire detachment prisoners. In December 1781 Tippu Sultan had successfully seized Chittur from the British. Tippu Sultan had thus gained sufficient military experience by the time Haidar Ali died in December 1782. Source: Wikipedia
- Duration: 9:51
- Published: 2007-12-31
- Uploaded: 2010-09-03
- Author: djamaluddin
Franz Joseph Haydn - Orlando Paladino (1782) - Aria for Angelica - "Non partir, mia bella face" (Arleen Auger)
Franz Joseph Haydn - Orlando Paladino (1782) - Aria for Angelica - "Non partir, mia bella face" (Arleen Auger)
Angelica's second aria, as she tearfully asks Medoro not to leave her, is a brilliant series of contrasting movements, fully exploiting the idiom which was used in Haydn's time. The piece starts with a perfect languorous farewell of the princess which is, though, punctuated by very contrasting orchestral effects (a distinctively humorous beat between 1:00-1:07 but a tragic appearance of the flute between 1:55-2:00). The lament then overflows, after a comical "You do not answer?" (one can almost feel Medoro thinking: "Well, you are singing an aria here") into an affecting minor section, as Angelica seemingly loses all hope, but this movement then turns to a brighter melody, involving very advanced coloratura patterns for the soprano that are completely unrelated to the text itself, which occupies the final part of the aria. Arleen Auger again makes a most welcome appearance as Angelica. Hope you'll enjoy :)!
Angelica's second aria, as she tearfully asks Medoro not to leave her, is a brilliant series of contrasting movements, fully exploiting the idiom which was used in Haydn's time. The piece starts with a perfect languorous farewell of the princess which is, though, punctuated by very contrasting orchestral effects (a distinctively humorous beat between 1:00-1:07 but a tragic appearance of the flute between 1:55-2:00). The lament then overflows, after a comical "You do not answer?" (one can almost feel Medoro thinking: "Well, you are singing an aria here") into an affecting minor section, as Angelica seemingly loses all hope, but this movement then turns to a brighter melody, involving very advanced coloratura patterns for the soprano that are completely unrelated to the text itself, which occupies the final part of the aria. Arleen Auger again makes a most welcome appearance as Angelica. Hope you'll enjoy :)!
- Duration: 5:11
- Published: 2009-01-15
- Uploaded: 2010-10-12
- Author: LindoroRossini
Kearney Plays:Niccolo Paganini (1782-1840), Caprice No.5
Kearney Plays:Niccolo Paganini (1782-1840), Caprice No.5
Live Concert, by guitarist Patrick Kearney for the Toronto Classical Guitar Society.Recorded in Heliconian Hall, Toronto, Canada, by Eli Kasner on a DV Camera, February 2006.
Live Concert, by guitarist Patrick Kearney for the Toronto Classical Guitar Society.Recorded in Heliconian Hall, Toronto, Canada, by Eli Kasner on a DV Camera, February 2006.
Syskonbädd 1782
Syskonbädd 1782
The final scene from the film by Vilgot Sjöman, with Bibi Andersson, Jark Kulle and Berta Hall.
The final scene from the film by Vilgot Sjöman, with Bibi Andersson, Jark Kulle and Berta Hall.
- Duration: 3:30
- Published: 2006-11-26
- Uploaded: 2010-08-31
- Author: bolingbroke70
J.Haydn - Missa Cellensis Hob.XXII:8 (1782): 6) Agnus Dei
J.Haydn - Missa Cellensis Hob.XXII:8 (1782): 6) Agnus Dei
Franz Joseph Haydn Missa Cellensis, for soloists, chorus, organ & orchestra in C major ("Mariazellermesse"), Hob.XXII:8 (1782) 6) Agnus Dei with Benjamin Luxon, Robert Tear, Jennifer Smith, John Scott Academy of St. Martin-in-the-Fields George Guest, conductor
Franz Joseph Haydn Missa Cellensis, for soloists, chorus, organ & orchestra in C major ("Mariazellermesse"), Hob.XXII:8 (1782) 6) Agnus Dei with Benjamin Luxon, Robert Tear, Jennifer Smith, John Scott Academy of St. Martin-in-the-Fields George Guest, conductor
- Duration: 6:10
- Published: 2009-05-06
- Uploaded: 2010-08-27
- Author: 18thCenturyMusic
Franz Joseph Haydn - Orlando Paladino (1782) - Duettino for Medoro and Angelica - "Qual contento io provo in seno" (Claes H. Ahnsjö & Arleen Auger)
Franz Joseph Haydn - Orlando Paladino (1782) - Duettino for Medoro and Angelica - "Qual contento io provo in seno" (Claes H. Ahnsjö & Arleen Auger)
Again, even the more traditional and straightforward Medoro and Angelica, in Haydn's treatment, come off as distinctively comic, and the little duettino where they reaffirm their love is proof of this. True, the melody is classically lovely, as all love duets are, but there is an obvious over-sentimentality, especially in the long coloratura lines that follow the words "What a sweet sigh!". But, in spite of this, Haydn provides several places to note just how real the characters love is, even if it is too romanticized: in particular, a minor B section of true dramatic potency to separate the original, sentimental A sections; and a lovely ending coda that refuses the more rigid order of the previous statements. Arleen Auger here is joined by the equally superb tenor of Claes H. Ahnsjö. Hope you'll enjoy :)!
Again, even the more traditional and straightforward Medoro and Angelica, in Haydn's treatment, come off as distinctively comic, and the little duettino where they reaffirm their love is proof of this. True, the melody is classically lovely, as all love duets are, but there is an obvious over-sentimentality, especially in the long coloratura lines that follow the words "What a sweet sigh!". But, in spite of this, Haydn provides several places to note just how real the characters love is, even if it is too romanticized: in particular, a minor B section of true dramatic potency to separate the original, sentimental A sections; and a lovely ending coda that refuses the more rigid order of the previous statements. Arleen Auger here is joined by the equally superb tenor of Claes H. Ahnsjö. Hope you'll enjoy :)!
- Duration: 3:57
- Published: 2009-01-15
- Uploaded: 2010-10-08
- Author: LindoroRossini
Franz Joseph Haydn - Orlando Paladino (1782) - Duettino for Eurilla & Pasquale & Aria for Pasquale - "Quel tuo visetto amabile" & "Ecco spiano" (Elly Ameling & Domenico Trimarchi)
Franz Joseph Haydn - Orlando Paladino (1782) - Duettino for Eurilla & Pasquale & Aria for Pasquale - "Quel tuo visetto amabile" & "Ecco spiano" (Elly Ameling & Domenico Trimarchi)
While most of the characters in "Orlando Paladino" could be considered quasi-comic, it is the shepherdess Eurilla and Orlando's squire, Pasquale, who provide the true comic relief with their amorous dialogs. It's an ironic touch of Haydn and his librettist that their comic love duet precedes the more serious peace of Angelica and Medoro. The duettino, set to a light, sunny melody, disrupted only by a move to the minor as the girl notices her chevalier's silence, is especially notable for the fact that it almost becomes an aria for Eurilla who praises the charms of Pasquale who is, first, unable to even speak but, when he does make a sound, he only manages to utter lonely syllables or, further into the duet, mutters bashfully. Only at the end does he join Eurilla for an allegro coda that brings peace to both of the lovers. Pasquale, in a later monologue, shows off his musical prowess in front of his lover, displaying his falsetto, trills, staccato, breathing in a charming operatic tradition, also introducing us to the orchestra, in the process. Elly Ameling and Domenico Trimarchi are unbeatable as the comic pair. Hope you'll enjoy :)!
While most of the characters in "Orlando Paladino" could be considered quasi-comic, it is the shepherdess Eurilla and Orlando's squire, Pasquale, who provide the true comic relief with their amorous dialogs. It's an ironic touch of Haydn and his librettist that their comic love duet precedes the more serious peace of Angelica and Medoro. The duettino, set to a light, sunny melody, disrupted only by a move to the minor as the girl notices her chevalier's silence, is especially notable for the fact that it almost becomes an aria for Eurilla who praises the charms of Pasquale who is, first, unable to even speak but, when he does make a sound, he only manages to utter lonely syllables or, further into the duet, mutters bashfully. Only at the end does he join Eurilla for an allegro coda that brings peace to both of the lovers. Pasquale, in a later monologue, shows off his musical prowess in front of his lover, displaying his falsetto, trills, staccato, breathing in a charming operatic tradition, also introducing us to the orchestra, in the process. Elly Ameling and Domenico Trimarchi are unbeatable as the comic pair. Hope you'll enjoy :)!
- Duration: 7:51
- Published: 2009-01-15
- Uploaded: 2010-08-27
- Author: LindoroRossini
J.Haydn - Missa Cellensis Hob.XXII:8 (1782): 2) Gloria
J.Haydn - Missa Cellensis Hob.XXII:8 (1782): 2) Gloria
Franz Joseph Haydn Missa Cellensis, for soloists, chorus, organ & orchestra in C major ("Mariazellermesse"), Hob.XXII:8 (1782) 2) Gloria with Benjamin Luxon, Robert Tear, Jennifer Smith, John Scott Academy of St. Martin-in-the-Fields George Guest, conductor
Franz Joseph Haydn Missa Cellensis, for soloists, chorus, organ & orchestra in C major ("Mariazellermesse"), Hob.XXII:8 (1782) 2) Gloria with Benjamin Luxon, Robert Tear, Jennifer Smith, John Scott Academy of St. Martin-in-the-Fields George Guest, conductor
- Duration: 8:37
- Published: 2009-05-06
- Uploaded: 2010-10-10
- Author: 18thCenturyMusic
First Ever Mail Coach Service John Palmer 1782 Postal History Conder 18th Century Token 1797
First Ever Mail Coach Service John Palmer 1782 Postal History Conder 18th Century Token 1797
First Ever Mail Coach Service John Palmer Postal History Conder Token 1797 www.creamofcards.com
First Ever Mail Coach Service John Palmer Postal History Conder Token 1797 www.creamofcards.com
- Duration: 4:26
- Published: 2010-01-18
- Uploaded: 2010-08-25
- Author: creamofcardstv
451 on a 1782
451 on a 1782
451 Snow blower on a 1782 Cub Cadet
451 Snow blower on a 1782 Cub Cadet
- Duration: 0:56
- Published: 2008-10-19
- Uploaded: 2010-08-28
- Author: dougk109
J.Haydn - Missa Cellensis Hob.XXII:8 (1782): 1) Kyrie
J.Haydn - Missa Cellensis Hob.XXII:8 (1782): 1) Kyrie
Franz Joseph Haydn Missa Cellensis, for soloists, chorus, organ & orchestra in C major ("Mariazellermesse"), Hob.XXII:8 (1782) 1) Kyrie with Benjamin Luxon, Robert Tear, Jennifer Smith, John Scott Academy of St. Martin-in-the-Fields George Guest, conductor
Franz Joseph Haydn Missa Cellensis, for soloists, chorus, organ & orchestra in C major ("Mariazellermesse"), Hob.XXII:8 (1782) 1) Kyrie with Benjamin Luxon, Robert Tear, Jennifer Smith, John Scott Academy of St. Martin-in-the-Fields George Guest, conductor
- Duration: 5:06
- Published: 2009-05-06
- Uploaded: 2010-09-25
- Author: 18thCenturyMusic
J.Haydn - Missa Cellensis Hob.XXII:8 (1782): 3) Credo
J.Haydn - Missa Cellensis Hob.XXII:8 (1782): 3) Credo
Franz Joseph Haydn Missa Cellensis, for soloists, chorus, organ & orchestra in C major ("Mariazellermesse"), Hob.XXII:8 (1782) 3) Credo with Benjamin Luxon, Robert Tear, Jennifer Smith, John Scott Academy of St. Martin-in-the-Fields George Guest, conductor
Franz Joseph Haydn Missa Cellensis, for soloists, chorus, organ & orchestra in C major ("Mariazellermesse"), Hob.XXII:8 (1782) 3) Credo with Benjamin Luxon, Robert Tear, Jennifer Smith, John Scott Academy of St. Martin-in-the-Fields George Guest, conductor
- Duration: 8:12
- Published: 2009-05-06
- Uploaded: 2010-09-30
- Author: 18thCenturyMusic
Paganini ( 1782 - 1842 ) - Caprice No. 24 Concerto No. 2 Campanella - Variations on God Save the King
Paganini ( 1782 - 1842 ) - Caprice No. 24 Concerto No. 2 Campanella - Variations on God Save the King
This is one of my beloved violin collection: The Art of Violin. Video Clip: Performd by some of the finest violinists as below: Paganini ( 1782 - 1842 ) Caprice No. 24 - Alexander Markov: Concerto No. 2 Campanella - Ivry Gitlis: Paris 1966 Variations on God Save the King - Ruggiero Ricci 1973
This is one of my beloved violin collection: The Art of Violin. Video Clip: Performd by some of the finest violinists as below: Paganini ( 1782 - 1842 ) Caprice No. 24 - Alexander Markov: Concerto No. 2 Campanella - Ivry Gitlis: Paris 1966 Variations on God Save the King - Ruggiero Ricci 1973
- Duration: 3:56
- Published: 2008-09-28
- Uploaded: 2010-10-27
- Author: RomanceInStrings
Battle of the Saintes - April 1782: British crush the French
Battle of the Saintes - April 1782: British crush the French
American Revolutionary War: Caribbean: A British fleet under Admiral Sir George Rodney severely defeated the French fleet under the Comte de Grasse at the Battle of the Saintes in April 1782 forcing the French and Spanish to abandon a planned invasion of Jamaica. The battle had the largest casualties of the entire American Revolutionary war the vast majority on French side. The ships were packed with French soldiers intended for an invasion of Jamaica. It is estimated that 2000 were killed, 7000 wounded (at least 1200 of these were on the De Grasse's ship ''Ville De Paris'' ). When De Grasse surrendered he was one only a few that had survived unscathed on the ship Moreover 5000 French were taken prisoner back to Jamaica. So many French surrendered (many of them very sea sick soldiers) that it hindered Rodney's attempts at pursuit and something that Samual Hood criticised him for. The battle swung balance of power in the Caribbean to the British; France and Spain were forced on to the defensive. As a result British were able to recapture her Central American possessions and the Bahamas in 1782 & 1783. This video is part of the BBC Documentary series 'Empire of the Seas' presented by the brilliant Dan Snow from the third episode.
American Revolutionary War: Caribbean: A British fleet under Admiral Sir George Rodney severely defeated the French fleet under the Comte de Grasse at the Battle of the Saintes in April 1782 forcing the French and Spanish to abandon a planned invasion of Jamaica. The battle had the largest casualties of the entire American Revolutionary war the vast majority on French side. The ships were packed with French soldiers intended for an invasion of Jamaica. It is estimated that 2000 were killed, 7000 wounded (at least 1200 of these were on the De Grasse's ship ''Ville De Paris'' ). When De Grasse surrendered he was one only a few that had survived unscathed on the ship Moreover 5000 French were taken prisoner back to Jamaica. So many French surrendered (many of them very sea sick soldiers) that it hindered Rodney's attempts at pursuit and something that Samual Hood criticised him for. The battle swung balance of power in the Caribbean to the British; France and Spain were forced on to the defensive. As a result British were able to recapture her Central American possessions and the Bahamas in 1782 & 1783. This video is part of the BBC Documentary series 'Empire of the Seas' presented by the brilliant Dan Snow from the third episode.
- Duration: 4:29
- Published: 2010-09-02
- Uploaded: 2010-10-28
- Author: LordGeorgeRodney
William Miller (15-2-1782--20-12-1849)American Baptist Preacher, End of Time--Adventist Sects
William Miller (15-2-1782--20-12-1849)American Baptist Preacher, End of Time--Adventist Sects
en.wikipedia.org William Miller (February 15, 1782 -- December 20, 1849) was an American Baptist preacher, whose followers have been termed Millerites. He is credited with the beginning of the Adventism movement of the 1830s and 1840s in North America. Among his direct spiritual heirs are several major religious denominations, including Seventh-day Adventists and Advent Christians. Later movements found inspiration in Miller's emphasis on Bible prophecy. Military service At the outbreak of the War of 1812, Miller raised a company of local men and traveled to Burlington, Vermont. He transferred to the 30th Infantry Regiment in the regular army of the United States with the rank of lieutenant. Miller spent most of the war working as a recruiter and on February 1, 1814, he was promoted to captain. He saw his first action at the Battle of Plattsburgh, where vastly outnumbered American forces overcame the British. "The fort I was in was exposed to every shot. Bombs, rockets, and shrapnel shells fell as thick as hailstones", he said. One of these many shots had exploded two feet from him, wounding three of his men and killing another, but Miller survived without a scratch. Miller came to view the outcome of this battle as miraculous, and therefore at odds with his deistic view of a distant God far removed from human affairs. He later wrote, "It seemed to me that the Supreme Being must have watched over the interests of this country in an especial manner, and delivered us from <b>...</b>
en.wikipedia.org William Miller (February 15, 1782 -- December 20, 1849) was an American Baptist preacher, whose followers have been termed Millerites. He is credited with the beginning of the Adventism movement of the 1830s and 1840s in North America. Among his direct spiritual heirs are several major religious denominations, including Seventh-day Adventists and Advent Christians. Later movements found inspiration in Miller's emphasis on Bible prophecy. Military service At the outbreak of the War of 1812, Miller raised a company of local men and traveled to Burlington, Vermont. He transferred to the 30th Infantry Regiment in the regular army of the United States with the rank of lieutenant. Miller spent most of the war working as a recruiter and on February 1, 1814, he was promoted to captain. He saw his first action at the Battle of Plattsburgh, where vastly outnumbered American forces overcame the British. "The fort I was in was exposed to every shot. Bombs, rockets, and shrapnel shells fell as thick as hailstones", he said. One of these many shots had exploded two feet from him, wounding three of his men and killing another, but Miller survived without a scratch. Miller came to view the outcome of this battle as miraculous, and therefore at odds with his deistic view of a distant God far removed from human affairs. He later wrote, "It seemed to me that the Supreme Being must have watched over the interests of this country in an especial manner, and delivered us from <b>...</b>
Guitar and Violin Duet - Cantabile, Nicolo Paganini (1782-1840)
Guitar and Violin Duet - Cantabile, Nicolo Paganini (1782-1840)
Mike Grassotti (guitar) and Tyrone Fuertes (violin) performing at the University of Connecticut's Von der Mehden recital hall April 14, 1996
Mike Grassotti (guitar) and Tyrone Fuertes (violin) performing at the University of Connecticut's Von der Mehden recital hall April 14, 1996
- Duration: 4:17
- Published: 2008-02-20
- Uploaded: 2010-09-29
- Author: mgrassotti
Friedrich Wilhelm August Froebel Fröbel 1782 1852
Friedrich Wilhelm August Froebel Fröbel 1782 1852
- Duration: 2:31
- Published: 2009-06-03
- Uploaded: 2010-10-06
- Author: leoseguran
John Field (1782-1837) - Notturno n.14 in sol maggiore
John Field (1782-1837) - Notturno n.14 in sol maggiore
Pietro Spada piano John Field (Dublino, 26 luglio 1782 -- Mosca (Russia), 23 gennaio 1837) è stato un compositore e pianista irlandese. È conosciuto soprattutto per aver inventato il genere pianistico romantico del "notturno", che ispirerà decine di compositori del romanticismo musicale fra cui Fryderyk Chopin. John Field (26 July 1782 (?), baptized 5 September 1782 -- 23 January 1837) was an Irish pianist, composer, and teacher. He was born in Dublin into a musical family, and received his early education there. The Fields soon moved to London, where Field studied under Muzio Clementi. Under his tutelage, Field quickly became a famous and sought-after concert pianist; together, master and pupil visited Paris, Vienna, and St. Petersburg. The Russian capital so impressed Field that he eventually decided to stay behind when Clementi left, and from about 1804 was particularly active in Russia. Field was very highly regarded by his contemporaries and his playing and compositions influenced many major composers, including Chopin, Brahms, Schumann, and Liszt. He is best known today for originating the piano nocturne, a form later made famous by Chopin, as well as for his substantial contribution, through concerts and teaching, to the development of the Russian piano school. (wikipedia) video is Haleakala Sunset (2007) by Mike McCabe www.archive.org
Pietro Spada piano John Field (Dublino, 26 luglio 1782 -- Mosca (Russia), 23 gennaio 1837) è stato un compositore e pianista irlandese. È conosciuto soprattutto per aver inventato il genere pianistico romantico del "notturno", che ispirerà decine di compositori del romanticismo musicale fra cui Fryderyk Chopin. John Field (26 July 1782 (?), baptized 5 September 1782 -- 23 January 1837) was an Irish pianist, composer, and teacher. He was born in Dublin into a musical family, and received his early education there. The Fields soon moved to London, where Field studied under Muzio Clementi. Under his tutelage, Field quickly became a famous and sought-after concert pianist; together, master and pupil visited Paris, Vienna, and St. Petersburg. The Russian capital so impressed Field that he eventually decided to stay behind when Clementi left, and from about 1804 was particularly active in Russia. Field was very highly regarded by his contemporaries and his playing and compositions influenced many major composers, including Chopin, Brahms, Schumann, and Liszt. He is best known today for originating the piano nocturne, a form later made famous by Chopin, as well as for his substantial contribution, through concerts and teaching, to the development of the Russian piano school. (wikipedia) video is Haleakala Sunset (2007) by Mike McCabe www.archive.org
- Duration: 2:05
- Published: 2010-06-06
- Uploaded: 2010-08-27
- Author: theprof1958