#philharmonia orchestra

[esoteric-aesthetic-lyrics]

Let You Break My Heart Again - Laufey & Philharmonia Orchestra

[vangoghsearformusic-blog]

some day

i will stop falling

in love

with you

one day

someone will like me

like i like you

[wokeupwiththissong]

California and Me - Laufey feat. Philharmonia Orchestra

[nonesuchrecords]

Julia Bullock was on BBC Radio 4's Woman's Hour ahead of her UK performances with the Philharmonia Orchestra next week, culminating with the mixed-media project History’s Persistent Voice, which shines a light on the words, work, and experiences of Black artists, at Southbank Centre's Queen Elizabeth Hall. You can hear her conversation with Woman's Hour presenter Anita Rani here.

[rusaktanya]

[onenakedfarmer]

Julia Bullock WALKING IN THE DARK

Christian Reif, Philharmonia Orchestra

[adrianvarelablog]

Emerging artists

Cromwell Place Art Gallery

28 Jan 2023

Blog

By Adrian Varela

In 1892 Dvorak landed in the USA, newly appointed director of the National Conservatory of Music of America, in New York City. During his three years in the USA, he was also tasked with the job of spearheading the synthesis, or creation, of a truly (North) ‘American’ musical form of expression. Though still a post-colonialist viewpoint -widespread quintessentially North-American music already existed in the form of the music of black and native peoples- the choice of Dvorak, as a composer who might be able to do this was within the realm of art music, was an inspired one. Dvorak had for years made music of his native Bohemia an integral part of his compositional output. Children of this effort include his symphony no.9 ‘From the New World’, the cello concerto, and the ‘American’ string quartet, performed tonight.

At the Conservatory, one of his black students, singer, composer, and arranger Mr. Harry T Burleigh frequently shared black, and other native music, with Dvorak. It was through Burleigh that Dvorak came to feel that much of this music was (as still is much native music in many other parts of the world) based on the pentatonic scale. Every theme in the ‘American’ string quartet is pentatonic, as is the anonymous negro spiritual ‘Deep River’.

The British-Sri Lankan composer Yshani Perinpanayagam has based her ‘We Folk Disquieten’, here a world premiere, also on the pentatonic scale; or rather, several. There is really only one pentatonic scale, which can be anchored to any given note, ie played ‘higher’ or ‘lower’. Perinpanayagam, giving each instrument a distinct pentatonic scale, represents the local voices of different peoples in different parts of the world, gathering them in a single, powerful, unified voice as the work unfolds.

‘Pyramid in an Urban Landscape’ by the Mexican (hence North American) composer Diana Syrse is given here its UK premiere. In it she combines the use of traditional string quartet instruments with pre-Columbian ones. At first, one may wonder why these pre-Columbian shapes and sounds are irrupting into the old, established order of the string quartet- until we realise it is the ‘West’, the colonisers, who have encroached around the pyramids, the ayoyote, the ocarina and the shaker, all of whom were there first.

The title of the concert, ‘Emerging’, evokes the idea of the new: new music, new paintings, new art. But these final expressions cannot be understood without also delving somewhat into the different processes and cultural environments, which lay out the conditions in which artists work, to generate this new art. We invite the audience to join us in being a part of the process that underpins the genesis of some of the works we perform today.

[anothersilentobserver]

How to mark an occasion, make gorgeous music and send a message of support to a war-torn country, all in one go.

I bow to you, Philharmonia Orchestra.

[agoodsongeveryday]

Day Eight Hundred and Thirty Five

Doucement glissons de son flot charmant Suivons le courant fuyant Dans l'onde frémissante D'une main nonchalante Viens, gagnons le bord Où la source dort Et l'oiseau, l'oiseau chante

[opera-ghosts]

OTD in Music History: Composer and conductor Richard Strauss (1864 - 1949) makes his final recording, leading the Philharmonia Orchestra at Royal Albert Hall in 1947. The program that night includes his “Burleske” (1886) for piano and orchestra and his “Don Juan” (1888) and “Sinfonia Domestica” tone poems (1903). Often described as a successor to Richard Wagner (1813 - 1883) and Franz Liszt (1811 - 1886), Strauss represents the late flowering of German Romanticism -- a style in which virtuosic large-scale orchestration is combined with a highly advanced and chromatic (but still tonal) harmonic style. Strauss's first international success came with his series of tone poems -- "Don Juan" (1888), "Death and Transfiguration" (1889), "Till Eulenspiegel's Merry Pranks" (1895), "Also sprach Zarathustra" (1896), "Don Quixote" (1897), "Ein Heldenleben" (1898), "Symphonia Domestica" (1903), and "An Alpine Symphony" (1911). His first opera to achieve similar international fame was "Salome" (1905), which was followed by a string of popularly and critically acclaimed operas written in conjunction with librettist Hugo von Hofmannsthal (1874 - 1929), of which "Elektra" (1909), "Der Rosenkavalier" (1911), and "Ariadne auf Naxos" (1912) have proven to have the most staying power. Other well-known works by Strauss include his lieder (especially the famous "Four Last Songs" of 1948), the two horn concertos (1883 & 1942), and the late "Metamorphosen" (1945). Strauss summed up his long career as follows: "I may not be a first-rate composer, but I am certainly a first-class second-rate composer!" PICTURED: A first edition printed copy of the piano / vocal score of one of Strauss’s most famous works – the opera "Elektra" (1909) – which he signed and inscribed to fellow noted 20th Century composer Reynaldo Hahn (1874 - 1947) on the date of its world premiere.

[musicwithoutborders]

New Philharmonia Orchestra /Aaron Copland , The Red Pony Suite: IV. Walk to the Bunkhouse I The Copland Collection: Orchestral Works 1948-1971, 1991

[originalharmonysalad]

Beethoven on TikTok

This professional campaign titled 'Modern Classics' was published in New Zealand in December, 2022. It was created for the brand: Auckland Philharmonia Orchestra, by ad agency: Stanley St.

[nonesuchrecords]

"Julia Bullock is equal to everything here, from spiritual to John Adams, the expressive power and range and truth of her singing leaving an indelible impression,” says BBC Radio 3's Record Review presenter Andrew McGregor of her debut solo album, Walking in the Dark, the show’s Record of the Week. You can hear Bullock with Christian Reif on piano performing Billy Taylor’s “I Wish I Knew How It Would Feel to Be Free” and, with Philharmonia Orchestra led by Reif, Barber's "Knoxville: Summer of 1915" and from the album on the episode, from 2:26 in, here.

[astronomy-two-worlds-apart]

you know i’m in a hopeless romantic mood when i begin listening to laufey