#Dalton Baldwin (piano)

[espejomonastico]

Max Reger: Schlichte Weisen, op. 76 (III. Waldeinsamkeit) (aprox. 1904).

Elly Ameling, soprano

Dalton Baldwin, piano

Gestern abend in der stillen Ruh' Sah ich im Wald einer Amsel zu; Als ich da so saß Meiner ganz vergaß: Kommt mein Schatz und schleichet sich um mich Und küsset mich

So viel Laub als an der Linden ist Und so viel tausendmal hat mich mein Schatz geküßt; Denn ich muß gesteh'n Es hat's niemand geseh'n Und die Amsel soll mein Zeuge sein: Wir war'n allein

En medio del reposo de ayer por la tarde divisé un mirlo en el bosque y al sentarme en el lugar me olvidé por completo de mí. A hurtadillas se aproximó mi amada y me besó. Así como hay hojas en los tilos, besos me prodigó mil veces: Debo confesarles que nadie nos vio y que el mirlo atestiguará conmigo: estábamos solos.

(propongo este texto como traducción instrumental)

Reger solo señala que se trata de un texto popular de la Franconia, sin autor identificado.

[lesser-known-composers]

kurt Weill (1900-1950) - Rainer Maria Rilke: II. In Diesem Dorfe · ·

Steven Kimbrough, baritone · Dalton Baldwin, piano

[musicfordinner]

Year of Wonder selection Day 7 - performed by the Queen, versatile American Opera singer Jessye Norman ♥️ composed by French composer and pianist Francis Poulenc

I did let this book get away from me a little and will spend the weekend catching up. However, this piece.. I just heard this beautiful piece from the 7th and omg, my heart. It was like the Angels came down and graced me with their presence. I felt a tear well up in the corner of my eye. It's definitely the inclusion of Jessye's vocals on this selection.

However, Clemency Burton-Hill hits the nail on the head with this selection for Day 7, what a wonderful way to end the first seven days of a new year. If the year started on a Sunday and you heard this magnificent piece of music in Saturday night right before the clock stroke midnight, the majesty of it, the breathtaking nature of it, could almost feel like starting the year all over again anew. It would almost feel like a do-over.

Im so taken away by this selection today that I’m so glad someone compiled this playlist for year of wonder on both Apple Music and Spotify.

Considering the layers of classical music, how many times a piece has been reimagined by this virtuoso or that, it would have been so hard for me to find the one that really shines. I’m so glad someone more experienced with classical than me put together the playlists to really capture the beauty of what Clemency Burton-Hill is sharing in Year of Wonder.

I couldn’t imagine experiencing ‘Les Chemins de l’amour” any other way that hearing Jessye Norman sing it, now that I’ve heard her sing it. It’s so, so beautiful. Hear it for yourself!

Onward to the rest of the days!

[mykristeva]

Vai Azulão Azulão companheiro vai Vai ver minha ingrata Diz que sem ela O sertão não é mais sertão Ah, voa, Azulão, vai contar companheiro vai…

Manuel Bandeira

Este poema de Bandeira foi musicado por Jayme Ovalle (op. 21), compositor e poeta brasileiro nascido em Belém do Pará (1894-1955). “Azulão” tornaria Jayme Ovalle conhecido internacionalmente e a música foi gravada por inúmeros cantores e sopranos. De Jayme Ovalle diria Vinícius de Moraes: “ É o poeta em estado virgem. A mais bela crisálida de poesia que jamais existiu desde William Blake. É o mistério poético em toda a sua inocência, em toda a sua beleza natural. É voo, é transcendência absoluta. É amor em estado de graça.”  Embora jamais tenha sido publicado, Ovalle deixou um livro inédito de poemas, The Foolish Bird (O pássaro tolo), escrito originalmente em inglês e cujos originais estão desaparecidos.

Escolhi Arleen Augér, soprano, acompanhada de Dalton Baldwin ao piano.

[nubianamy]

Blaine Darren Anderson in the Donutverse is canon Blaine with a lot of mental and emotional instability. His authoritarian father and fragile mother fought a lot when he was a child. Luckily, his emotional connections to his housekeeper, Maribel Lopez, and her daughter Santana, along with bookish Davey Karofsky, helped sustain him through a turbulent childhood. 

Blaine is submissive with all of his boyfriends, and although he has plenty of experience putting on his “perfect Blaine” face at school and on stage, he is happiest when he can lay down the demands of the world and fully surrender to someone he trusts. When he does not get the support he needs, he becomes reckless, disjointed, irritable, and sometimes resorts to cocaine to get by. 

Blaine sings lead and plays guitar and piano in the band Labyrinth with Finn and Carl. 

Originally, Blaine was not a major character in our story, but as the show went on and we were planning and writing, we felt we had to come up with a suitable reason for Blaine’s erratic behavior. Then, when we wrote Blaine’s backstory with Santana and Dave in Terrific, Radiant, Humble, he became much more interesting, and it was easier to find a place for him in the larger arc. Also, we wrote Dying in America before envisioning Blaine’s involvement with Finn in Breathing Room, which required us to go back and entirely rewrite the first story. 

Here’s a chronological summary of all of Blaine’s appearances in the Donutverse as of 2019:

Terrific, Radiant, Humble - Blaine’s backstory begins when he is in kindergarten and his mother hires Santana’s mother to be their housekeeper. Blaine also develops a lasting, turbulent friendship with Davey Karofsky.

Bending in the Archer’s Hand, chapter 16 - during Kurt and Puck’s date in Dayton to the dance club Masque, Puck meets and dances with Blaine. They discover a mutual attraction, as Puck uncharacteristically takes the dominant role. This encounter stays with them for months until they meet again the following summer.

Bending in the Archer’s Hand, chapter 25 - while Puck is coping with the sudden death of his mother, Santana is talking on the phone to Blaine at Dalton.

Archer’s Hand, chapter 29 - during the Glee Christmas song exchange at Brad’s house, Santana receives a call from Blaine, and Finn hears him singing “Carol of the Bells” with the Warblers.

Archer’s Hand, chapter 45 - while Finn is searching for Puck, Blaine is eating salad with Britt and Santana. In the same chapter, Dave reflects on his friendship with Blaine.

How Much You Pierce My Spirit, chapter 9 - after Kurt returns from California, Dave notices his confidence, and reflects on his past with Blaine.

There’s An Awful Lot of Breathing Room, But I Can Hardly Move - Blaine has a weekend identity as “Patrick” at the open mic at a coffeehouse in Columbus. He meets Finn (“Christopher”) and Carl (“Derek”) and Finn recognizes that Blaine needs discipline. They begin an intense nonsexual relationship which soon becomes complicated.

Breathing Room overlaps with the stories that encompass the second half of season one. The chapters involving Blaine are:

chapter 4 of There’s Not Enough Room (and chapter 5)

chapter 2 of Dark and Dangerous Like A Secret

chapter 1 of The Silence That I Keep

chapter 4 of Shadowing My Dreams

chapter 1 of Of All My Demon Spirits, I Need You the Most (and chapter 4)

chapter 3 of Bring Your Heart Back to My Island (and chapter 5)

chapter 2 of Time Passed Makes It Plain (and chapter 4)

Dying In America (To Come Into Our Own) - Blaine and Kurt both audition for RENT in Cleveland during the summer after sophomore year, and they realize Blaine already knows both Puck and Finn. Their relationships merge and shift over the course of the summer, ending eventually in a foursome.

Any Minute Now (WIP) - as the boys attempt to continue their relationship into junior year, Blaine’s father realizes what he’s doing with Finn and Puck and forbids them to see him. Blaine’s fragile mental state collapses, and he enters a fugue state in which he refuses to acknowledge his prior relationships with the boys. Kurt transfers to Dalton to attempt to get him back.

Dance on a Narrow Ledge, chapter 6 - while Kurt and Finn are at Baldwin-Wallace music camp after junior year, they unexpectedly begin a relationship with Mike Chang. Blaine drives down with Tina to visit them and discuss the development.

Love is Careless in its Choosing (WIP) - in season 5, Kurt is living in New York and Blaine is finishing senior year in Lima, when Adam unexpectedly shows up again in Kurt’s life.

[mozart-1053]

faure, dans la forêt de septembre (”in the forest in september”) gerard souzay, baritone dalton baldwin, piano

(video by DasLiedimGruenen)

[garudabluffs]

Mr. Robeson sings a most beautiful rendition of this song. Merely his incredible voice, a piano and the Carnegie Hall venue were all he needed or ever will. From 1958!

There is a balm in Gilead · Jessye Norman · Dalton Baldwin                      Jessye Norman - Spirituals ℗ 1979

Producer, Recording  Producer: Vittorio Negri                                             Studio  Personnel, Recording  Engineer: Tony Buczynski                           Studio  Personnel, Recording  Engineer: Cees Heijkoop                            Composer  Lyricist: Anonymous Arranger,                                                          Work  Arranger: Dalton Baldwin Arranger,                                                       Work  Arranger: Jessye Norman Arranger,                                                        Work  Arranger: Willis Patterson

[biofunmy]

Dalton Baldwin, an Eminence Among Accompanists, Dies at 87

Dalton Baldwin, an American pianist and recording artist who was acclaimed for nearly six decades as a recital accompanist to major singers, including Elly Ameling, Jessye Norman and especially the French baritone Gérard Souzay, died on Dec. 12 in Kunming, in the Yunnan Province of China. He was 87.

His death, a week before his 88th birthday, was announced by Ben Turman, the vice consul of the United States Consulate in Chengdu. Mr. Baldwin had recently completed three weeks of performances and coaching sessions with students in Japan and was returning from a short trip to Myanmar to visit Buddhist temples when he collapsed on a flight to Tokyo. The plane made an emergency landing in Kunming, where he was taken to a hospital and died.

He had performed on five continents and made more than 100 recordings over his career.

Although Mr. Baldwin was an eminence among accompanists, he was not fond of that word. Like many of his colleagues, he preferred to be called simply a pianist.

Critics affirmed that he was no mere accompanist. While consistently praising the refinement, sensitivity and technical command of his playing, they routinely described him as an equal partner to the singers he performed with.

In a review of a 1978 recital by Ms. Ameling at Alice Tully Hall, John Rockwell of The New York Times wrote that Mr. Baldwin “was worthy of a review all his own.” This was “piano playing of a lyrical and dramatic sympathy and a rhythmic energy that superbly partnered the singer,” Mr. Rockwell concluded.

Writing about a 1968 recording of songs by Francois Poulenc, featuring Mr. Souzay and Mr. Baldwin, the Times critic Allen Hughes observed that “the two performers work together so superbly that their interpretations are almost inseparable into individual elements.”

Mr. Baldwin was 22 when he met and first worked with Mr. Souzay, who was 13 years older and already an admired interpreter of song. Their professional relationship grew into a personal one, though they remained discreet about it; they built a home together in Antibes, on the Riviera, where Mr. Souzay died in 2004 at 85.

The important singers with whom Mr. Baldwin partnered on concert tours inevitably attracted more attention than he did, as he wryly noted in a 1983 interview with The Times. Speaking of a recital at the Salzburg Festival with Ms. Ameling, Mr. Baldwin said that his name was as large as hers on the poster, which gave him “a good feeling” — though, he added, “of course, I didn’t get anything like her fee.”

“Accompanists are underrated in every respect — financially, acclaim,” he said. Once, he said, a critic even referred to him in a review as someone else: Gerald Moore, the distinguished British accompanist.

In another Times article, from 1996, Mr. Baldwin was quoted as explaining that being an accompanist required not just musical talent but also a flair for ad hoc psychiatry, because “singers are such vulnerable people.” Mr. Baldwin clearly handled this element of the relationship sensitively; some of the major singers of his era were tenaciously loyal to him.

Dalton Baldwin was born on Dec. 19, 1931, in Summit, N.J., to Dalton Graf Baldwin, who worked in the insurance business, and Helen (Cahill) Baldwin. He is survived by a sister, Martha Baldwin Nelson. Another sister, Anne Baldwin Kurtosi, died before him.

Mr. Baldwin was drawn to music early. As a high school student, he attended a recital in Morristown, N.J., by the great English contralto Kathleen Ferrier that proved pivotal.

“You know immediately when a singer has a personal message,” he said in the 1996 interview. Ferrier “had lovely rosy cheeks and an enchanting way, and there again was a message, introducing me to the world of song.”

After studying at the Juilliard School, he attended the Oberlin Conservatory of Music in Ohio, where he received a bachelor of music degree. In Paris he studied with the renowned pedagogue Nadia Boulanger, began his association with Mr. Souzay and was coached by several composers, including Poulenc and Frank Martin.

Mr. Baldwin is best known for his performances and recordings of French art songs. His extensive discography includes the complete songs of Poulenc, Debussy, Faure and Ravel. He also won high praise for his performances of Schubert and Schumann. And he introduced a number of new works, including, with Mr. Souzay, the 1969 premiere in Washington of Ned Rorem’s “War Scenes,” a cycle of five songs with texts from Walt Whitman’s “Specimen Days,” dedicated by the composer to “those who died in Vietnam, both sides.”

The illustrious singers he worked with also included Marilyn Horne, Nicolai Gedda, Jennie Tourel, Frederica von Stade and José van Dam. He began his long association with Ms. Ameling in 1970 and, a few years later, began working with Jessye Norman (who died in September).

Mr. Baldwin was a teacher and coach to young pianists and singers and regularly gave master classes at the Salzburg Mozarteum, the national conservatories of Paris and Madrid, a summer academy in Nice and elsewhere. In recent years he taught at Westminster Choir College of Rider University in Princeton, N.J., and had a home near the campus.

Though he also performed with leading instrumentalists like the violinist Henryk Szeryng and the cellist Pierre Fournier, Mr. Baldwin said he liked working with singers best.

“I worship the human voice,” he said in 1996. “There’s nothing like singing; it’s a romance when you share the music and the poem. The voice is God’s instrument. I want them to enjoy music making. That’s what it should be about: la joie.”

Sahred From Source link Arts

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[opsikpro]

Dalton Balwin’s remains are held in Beijing

Dalton Balwin’s remains are held in Beijing

[ad_1]

Further details are reaching us of the death last week of Dalton Baldwin, piano partner, teacher and friend of many singers, great and small.

Dalton, who was 87, was flying home from engagements in Japan when he took ill in mid-air.

The flight was diverted and an emergency landing was made in Beijing, where medics were unable to save him.

His remains are now being held in Beijing, pending…

[alainlesourd-14]

Fauré, Hahn.. - Mélodies Françaises (Century's recording : Gérard Souzay...

Mélodies Françaises : 

 Reynaldo Hahn (1875-1947) 1- L’heure exquise / Paul Verlaine (00:00) Charles Gounod (1818-1893) 2- Sérénade / Victor Hugo (2:37) Henri Duparc (1848-1933) 3- Soupir / Sully Prudhomme (6:37) Gabriel Fauré (1845-1924) 4- Chanson du pêcheur / Théophile Gautier (10:18) Francis Poulenc (1899-1963) 5- Calligrammes / Guillaume Apollinaire III. Vers le Sud (14:02) Gabriel Fauré 6- Les berceaux, op. 23 n° 1 / Sully Prudhomme (15:51) 7- Cinq mélodies de Venise, op. 58 / Paul Verlaine II. En sourdine (18:44) 8- Poème d’un jour, op. 21 / Charles Grandmougin III. Adieu (22:02) 9- Cinq mélodies de Venise, op. 58 / Paul Verlaine I. Mandoline (24:21) Henri Duparc 11- Chanson triste / Jean Lahor (27:50) Charles Gounod 12- L’absent (31:08) Gabriel Fauré 13- Soir, op. 83 n° 2 / Albert Samain  (35:02) 14- Le secret, op. 23 n° 3 / Armand Silvestre (37:34) 15- Prison, op. 83 n° 1 / Paul Verlaine (39:57) 16- Le don silencieux, op. 95 / Jean Dominique (42:27) 17- Cinq mélodies de Venise, op. 58 / Paul Verlaine III. Green (44:37) 18- Cinq mélodies de Venise, op. 58 / Paul Verlaine V. C’est l’extase (46:36) 19- Arpège, op. 76 n° 2 / Albert Samain (49:30) 20- La bonne chanson, op. 61 / Paul Verlaine IX. L’hiver a cessé (51:42) Maurice Ravel 21- Cinq mélodies populaires grecques / traduction M.D. Calvocoressi IV. Chanson des cueuilleuses de lentisques (54:30) Gabriel Fauré 22- Le jardin clos, op. 106 / Charles van Lerberghe IV. Je me poserai sur ton cœur (57:09) 23- Mirages, op. 113 / Baronne de Brimont I. Cygne sur l’eau (58:50) 24- Mirages, op. 113 / Baronne de Brimont II. Reflets dans l’eau (1:02:18) 25- Mirages, op. 113 / Baronne de Brimont III. Jardin nocturne (1:06:46) 26- Dans la forêt de septembre, op. 85 n° 1 / Catulle Mendès (1:09:49) Henri Duparc 27- Phidylé / Charles Leconte de Lisle (1:13:07) Gabriel Fauré 28- L’horizon chimérique, op. 118 / Jean de la Ville de Mirmont III. Diane, Séléné (1:18:38) 29- Le parfum impérissable, op. 76 n° 1 / Leconte de Lisle (1:20:40) 30- La chanson d’Eve, op. 95 / Charles van Lerberghe X. Ô mort, poussière d’étoiles (1:23:27) 

 Piano : Dalton Baldwin Baryton : Gérard Souzay Stéréo recording in 1960-63-65-67-68 Label : Philips

[jornal-do-reboucas]

Músicos da Colômbia fazem workshop gratuito e concerto

Da Colômbia para o palco da Capela Santa Maria, em Curitiba, a soprano Betty Garcés e o preparador vocal Alejandro Roca fazem workshop gratuito, voltado a cantores líricos, no dia 28 de agosto, das 16h às 18h. Para o dia 29, às 20h, está previsto um concerto com obras de diversos estilos e épocas. As inscrições para o workshop estão abertas até 20 de agosto. Cantores líricos interessados em aprimorar a técnica vocal e interpretação de repertório podem optar por assistir como ouvinte ou ser aluno ativo. Os interessados deverão enviar a ficha de inscrição para o seguinte e-mail: msquiba@fcc.curitiba.pr.gov.br. O retorno para a participação como aluno ativo será até o dia 24 de agosto, os demais participantes poderão assistir ao workshop como ouvintes. Cantora lírica Nascida em Buenaventura, perto da costa do Pacífico da Colômbia, Betty Garcés Bedoya tem uma bela carreira internacional como cantora lírica. Desde então, participou de masterclasses com cantores reconhecidos, como Anja Harteros e Cheryl Studer, e atualmente continua a estudar em Nova York, sob a direção do professor, pianista e preparador vocal Gerald Martin Moore, reconhecido pelo trabalho com cantores como Renee Fleming, Joyce DiDonato e Sarah Connolly. Este ano estreará como soprano no Requiem de Verdi com a Orquestra Filarmônica de Bogotá e no papel principal da Zarzuela Cecilia Valdés, no Teatro Colón de Bogotá, com a Orquestra Sinfónica da Colômbia. Seus próximos recitais acontecerão em Hannover, Santiago do Chile e Paris, e na sua próxima turnê internacional com o pianista colombiana Alejandro Roca, visitará Curitiba, Cingapura, Vietnã e Tóquio. Prestígio internacional Alejandro Roca nasceu na Colômbia e desenvolve uma carreira como um dos mais reconhecidos pianistas acompanhantes, preparador vocal e regente de ópera de sua geração na América do Sul. Depois de receber o bacharelado em Piano no Conservatório Antônio Maria de Valência, mudou-se para Barcelona, onde estudou no Conservatório Liceu e se especializou em repertório vocal com professores como Dalton Baldwin e Angel Soler. Também possui mestrado em regência orquestral pela Universidade Nacional da Colômbia. Com mais de dez anos de experiência em produções de ópera e zarzuela, seu repertório inclui mais de 40 óperas totalmente preparadas e colaborou com os maestros como Gustavo Dudamel, Rinaldo Alessandrini, Andres Orozco-Estrada, Hilary Griffiths, Patrick Fournillier, Rodolfo Fischer, Josep Caballé - Domenech entre muitos outros e com todos os importantes cantores de ópera colombianos como Martha Senn, Valeriano Lanchas, Juanita Lascarro e Betty Garces entre outros. Atualmente é pianista e assistente de direção na Ópera da Colômbia, principal preparador vocal e diretor de workshop de ópera na Universidade Central, bem como pianista e assistente musical para as produções de ópera no Teatro Mayor Julio Mario Santodomingo e Teatro Colón em Bogotá.   Serviço: workshop com Betty Garcés e Alejandro Roca Local: Capela Santa Maria Espaço Cultural (Rua Conselheiro Laurindo, 273, Centro) Inscrições até 20 de agosto pelo e-mail msquiba@fcc.curitiba.pr.gov.br Informações no telefone (41) 3321-2848

[lesser-known-composers]

Gabriel Fauré (1845-1924) - Le berceaux

Gérard Souzay--baritone Dalton Baldwin--piano

[amotivationalsyndrome]

watch as I have a meaningful and romantic shower with Miss Lori Kim. Henri Duparc - Chanson Triste Jessye Norman - Soprano Dalton Baldwin - Piano

[nemesisland]

VEROUVIR Poulenc, "Les chemins de l'amour", Jessye Norman & Dalton Baldwin piano

[lesser-known-composers]

"Selige Nacht"; Joseph Marx Arleen Augér--Soprano Dalton Baldwin-Piano 3/1988

[amotivationalsyndrome]

Henri Duparc, Chanson triste 

Jessye Norman - voice

Dalton Baldwin - piano

I’m preparing this for a recital in April and it is so luxurious.