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Peter Randall
United States
Приєднався 16 лис 2010
Dots. Everything you wanted to know about dots but were afraid to learn.
Single, double, and triple dots shown with precise mathematical values.
First, an excerpt from the Verdi Requiem.
Then a comprehensive presentation of dots with notation.
First, an excerpt from the Verdi Requiem.
Then a comprehensive presentation of dots with notation.
Переглядів: 21
Відео
Hearing and seeing the beat.
Переглядів 11День тому
Both hearing and seeing the beat solidifies performance of rhythm. A good conductor is most easily followed when the beat is in sync with the laws of physics. “Keep time! How sour sweet music is when time is broke and no proportion kept! (So is it in the music of men's lives. I wasted time and now doth time waste me.)” ― William Shakespeare, Richard II
We're Rednecks. Randy Newman
Переглядів 54День тому
Newman has called "Rednecks" one of his favorite compositions. He said he wrote the song after watching Maddox's appearance with Cavett and "seeing him be treated rudely... they had just elected him governor, in a state of 6 million or whatever, and if I were a Georgian, I would have been offended, irrespective of the fact that he was a bigot and a fool." Note: I vividly remember when I first h...
Canzona in d-minor, BWV 588. Johann Sebastian Bach. . Läubin Brass Ensemble
Переглядів 6714 днів тому
Canzona in d-minor, BWV 588. Johann Sebastian Bach Läubin Brass Ensemble Canzona in D minor, BWV 588 is a work founded in the stile antico - drawing inspiration from Bach’s forebears. The title suggests the influence of Froberger and Buxtehude, but it can also trace its lineage back to the compositions of Italian master Girolamo Frescobaldi, a collection of whose work Bach owned and deeply admi...
Nun Danket Alle Gott. Chorale Prelude. J. S. Bach. For sight singing, clef reading & tranposition.
Переглядів 8321 день тому
Nun Danket Alle Gott. Chorale Prelude BWV 657. Johann Sebastian Bach For sight singing, clef reading, transposition and ear training skills. In the last playing by the organ, the sound cuts out on the last page at measure 50. The complete performance by the organist David Goode can be heard in this video: Nun Danket Alle Gott. Chorale Prelude BWV 657. Johann Sebastian Bach David Goode, organ. u...
Nun Danket Alle Gott. Chorale Prelude BWV 657. Johann Sebastian Bach David Goode, organ.
Переглядів 6821 день тому
Nun Danket Alle Gott. Chorale Prelude BWV 657. Johann Sebastian Bach David Goode, Trinity College Chapel organ BWV 657 Nun danket alle Gott. This prelude is through-composed, with the accompaniment marked by running semiquavers: the affect of joy is unmistakeable. There is a link to the text, ‘viel zugut’ - ‘immeasurable good’ - the semiquavers spinning through the piece giving an impression 11...
Nun Danket Alle Gott. Chorale Prelude BWV 657. Johann Sebastian Bach. Läubin Brass Ensemble
Переглядів 83Місяць тому
Nun Danket Alle Gott. Chorale Prelude BWV 657. Johann Sebastian Bach. Bach for Brass Läubin Brass Ensemble Bernhard Läubin, trumpet Hannes Läubin, trumpet Volker Schmitz, horn Erhard Wetz, trombone Walter Hilgers, tuba The cantus firmus chorale: The melody of the chorale is sounded in long notes throughout the piece, was established and popularized in central Germany by Pachelbel. One of his st...
Vater unser im Himmelreich, BWV 636. Johann Sebastian Bach. Das Orgel-Büchlein
Переглядів 42Місяць тому
Vater unser im Himmelreich, BWV 636. Johann Sebastian Bach. Das Orgel-Büchlein Bach for Brass Läubin Brass Ensemble Bernhard Läubin, trumpet Hannes Läubin, trumpet Volker Schmitz, horn Erhard Wetz, trombone Walter Hilgers, tuba
Jesu, meine Freude, BWV 610. Johann Sebastian Bach. Läubin Brass Ensemble
Переглядів 49Місяць тому
Orgelbüchlein Chorale prelude. Jesu, meine Freude, BWV 610 Johann Sebastian Bach Bach for Brass Bernhard Läubin, trumpet Hannes Läubin, trumpet Volker Schmitz, horn Erhard Wetz, trombone Walter Hilgers, tuba “Jesu, meine Freude” is a hymn in German, written by Johann Franck in 1650, with a melody, Zahn No. 8032, by Johann Crüger. Jesu, meine Freude first appeared in Crüger's hymnal Praxis pieta...
Prelude and Fugue in G major, BWV 541. Johann Sebastian Bach. Laubin Brass Ensemble
Переглядів 91Місяць тому
Bach for Brass: Prelude and Fugue in G Major, BWV 541; Chorale Läubin Brass Ensemble Bernhard Läubin, trumpet Hannes Läubin, trumpet Volker Schmitz, horn Erhard Wetz, trombone Walter Hilgers, tuba One of the most sparkling organ works by Johann Sebastian Bach (1685-1750), the Prelude and Fugue in G major, BWV 541, was probably originally written around the middle of Bach’s formative period in W...
Johann Sebastian Bach. Monogram, Seal, and Signature in notation
Переглядів 82Місяць тому
Origins and examples of the Bach Monogram or Seal. Bach's signature in music notation. While Bach never actually used this clever signature, musicians devised the B A C H score in the 19th century and sketched it out in Bach's hand. In German musical notation, B♭, A, C, B♮ are written as B A C H, cleverly spelling out the composer's name. By using a treble clef, tenor clef, alto clef, and anoth...
Canzon per sonar septimi toni à 8, Ch. 172 Giovanni Gabrieli. Metropolitan Opera Brass.
Переглядів 76Місяць тому
Canzon per sonar septimi toni à 8, Ch. 172 Giovanni Gabrieli (c. 1554/1557 - 12 August 1612) Metropolitan Opera Brass. John Sheppard, conductor In the waning years of the Renaissance, northern Italy emerged as an epicenter of musical breakthroughs. While Rome hewed to sublime, classic counterpoint-a stabilizing influence, as the conservative Vatican saw it-proud and powerful Venice, at the nort...
Can she excuse my wrongs. John Dowland. Grace Davidson, Soprano, David Miller, lute
Переглядів 168Місяць тому
Can she excuse my wrongs with virtues cloak Grace Davidson, Soprano, David Miller, lute John Dowland (c. 1563 - buried 20 February 1626) The Firste Booke of Songes, 1597 Subsequently published as the Earl of Essex galliard Related videos: (Be sure to watch Sting performing "Can she excuse my wrongs") Rick Beato This Song From the 1500’s Blows Me Away ua-cam.com/video/pgDbj2OvSwI/v-deo.html Dowl...
Concerto Grosso in A Minor for 4 violins. Giuseppe Valentini. Musica Antiqua Köln. Reinhard Goebel
Переглядів 135Місяць тому
Concerto Grosso in A Minor for 4 violins. Giuseppe Valentini. Musica Antiqua Köln. Reinhard Goebel
Riu, riu, chiu. Mateo Flecha el Viejo. The Sixteen Harry Christophers.
Переглядів 44Місяць тому
Riu, riu, chiu. Mateo Flecha el Viejo. The Sixteen Harry Christophers.
Weep no more thou sorry Boy. Thomas Tomkins. King's Singers
Переглядів 692 місяці тому
Weep no more thou sorry Boy. Thomas Tomkins. King's Singers
O clap your hands. Orlando Gibbons. Cambridge Singers. John Rutter, conductor
Переглядів 782 місяці тому
O clap your hands. Orlando Gibbons. Cambridge Singers. John Rutter, conductor
O clap your hands. Orlando Gibbons. Voces8
Переглядів 1852 місяці тому
O clap your hands. Orlando Gibbons. Voces8
Ecco mormorar l'onde. Claudio Monteverdi (1567-1643). Eric Ericson, Stockholmer Kammerchor
Переглядів 522 місяці тому
Ecco mormorar l'onde. Claudio Monteverdi (1567-1643). Eric Ericson, Stockholmer Kammerchor
Ave maris stella. Edvard Grieg. Voces8
Переглядів 2022 місяці тому
Ave maris stella. Edvard Grieg. Voces8
Toccata Settima. Michelangelo Rossi. Sergio Vartolo, harpsichord
Переглядів 1282 місяці тому
Toccata Settima. Michelangelo Rossi. Sergio Vartolo, harpsichord
Piano Sonata No. 13 in B-flat major, K. 333. Wolfgang Amadeus Mozart. Fazil Say, pianist
Переглядів 502 місяці тому
Piano Sonata No. 13 in B-flat major, K. 333. Wolfgang Amadeus Mozart. Fazil Say, pianist
Christum wir sollen loben schon. Orgelbüchlein. Chorale prelude BWV 611. Johann Sebastian Bach
Переглядів 422 місяці тому
Christum wir sollen loben schon. Orgelbüchlein. Chorale prelude BWV 611. Johann Sebastian Bach
Ach wie flüchtig, ach wie nichtig. BWV 644. Chorale prelude for clef reading and sight singing.
Переглядів 172 місяці тому
Ach wie flüchtig, ach wie nichtig. BWV 644. Chorale prelude for clef reading and sight singing.
“Jesu, meine Freude”, BWV 610. Orgelbüchlein Chorale prelude for clef reading and sight singing.
Переглядів 722 місяці тому
“Jesu, meine Freude”, BWV 610. Orgelbüchlein Chorale prelude for clef reading and sight singing.
Great!
❤
I really like this peice.
I heard it for the first time two days ago. It's a great piece and I decided to make this video (with the original 1727 manuscript) and a previous video with modern notation.
@@NYCNexus I think I have this in my music library.
Another performance Bruce Liu - Rameau: Gavotte et six doubles, RCT 5/7 ua-cam.com/video/cw65rMV2MNw/v-deo.html
The key written in the key sung is not the same
@@killuazoldik3871 Compositions are transposed all the time
Fantastic!
Hidden gem. Beautiful
Bravo!
Wendy!!
Bravo os felicito, lo hacéis más que bien!! 👏👏👏👏👏👍
Love this choral music....❤❤❤❤❤❤❤❤
2025 is an anniversary year for Gibbons. Lovely
That is W. Carlos i know the recording well.
0:35
I recorded this off the radio when I was a teenager and listened to it countless times, but forgot all about it until recently. Thank you for bringing this back to life for me. How glorious!
I find it interesting that after hearing all the parts alone, and then hearing all the parts in chorus, I can hear more of the inner voices that I did on the first hearing. Awesome!
When Rubenstein gave a Master class at Juilliard (Juilliard Theater was full). He told that he explored the 4th floor practice rooms and was astounded skill level. Rubenstein said everyone could play faster and more accurately (his fingers were wide and would occasionally hit the wrong key). After a long pause he said “There is only one difference. When I play I sing.” So you have to trust your inner voice and do your best to match the pitch of what you hear inside.
@@NYCNexus I dont see printed notes well, so yes, I do ding while I practice. It helps my memory, and reduces "note bashing"!! I hope to use the clef reading book for learning Braille music. I use fixed Do, that is how Louis Braille set up his code, he was French.
@@backtoschool1611 I was going to mention that, if the syllables are not comfortable, just singing on "doot" is beneficial.
@@NYCNexus I can get thenpitches ok, but I trip over solfege sometimes. I see it as part of learning!
Fantastic!
It is a shame these skills are not taught in music schools.
Thank you, you are very knowledgable! 👍
Absolutamente magistral de Referencia. ¡inmejorable!
Very nice, and I especially like the music.
FASCINATING HISTORY! Thanks for sharing, Peter!
This feels like a sword duel song in the background
Çok sağolun. Thanx❤
Useful
👍
Gee, can we get the rest of the Mass?
O.K. I have several recordings. I'll take a look. Lately, I've been writing out new scores to fit the screen. (Sibelius software).
What a glorious performance!! Who is this, and have they recorded more Josquin?? And the video is beautiful and exquisite, great work!
Tallis Scholars. Peter Phillips, conductor
@@NYCNexus Thank you -- I must say that surprises me a bit, as their recordings with which I'm familiar never involve such relaxed tempi or reverberant spaces...
@@monscarmeli Recorded at Church of Saint Peter and Saint Paul, Salle, Norfolk, England.
What a FANTASTIC Madrigal, so complicated and challenging, but effortlessly and gorgeously rendered by this extraordinary choir. They’ve done the Masterpiece to perfection! Thanks for posting, Peter along with the provenance : the fascinating information on the brilliant composer, Luca Marenzio, as well as the complete text and translation. BRAVO, Peter!
Wow! Thanks Lorna. Lorna is a world-famous mezzo-soprano. (Frequent roles at the Metropolitan Opera, on Broadway, and with opera companies across the globe. Vocal soloist with the NY City Ballet, Alvin Ailey and Jose Limon Dance Companies. She toured with Karl Richter and the Munich Philharmonic. She also was a founder of Opera Ebony and a director of the Girl's Choir of Harlem, inspiring features on 60 minutes and in the New York Times. Through her many vocal and philanthropic projects her name has been associated with First Lady Hillary Clinton, Oprah, Paul Newman, and Queen Latifah!
Thank you for videos!
Karl Jenkins the goat
Thanks Peter!
...
❤
This appears to be Capella Antiqua München, K. Ruhland, conductor.
very good impression of W. Carlos!
Love❤❤❤
Bonjour, je vous remercie pour l'aide de la partition.
Have long loved this composition -- very nice to have the scrolling score -- thank you for posting!
When I watched this video, I decided to make another version. 5 Fantasias on “Une jeune fillette”. Eustache du Caurroy ua-cam.com/video/dE4nUokJ6RI/v-deo.html
BRILLIANT, as always, Peter Randall! BRAVO!
Wow! Thanks Lorna.
Lovely, festive motet.
Thanks for sharing, very interesting 🙏
When Voces8 performed two concerts here in New York, I attended both, and spent time with each of them. I had not even heard "O nata lux" until I bought a CD of their recordings. The cross relation they sing in the last measure is, I believe, the best (cross relation) I've ever heard.
GOOSEBUMPS.
Could you tell us who is singing this?
British bass-baritone Dingle Yandell studied at the Guildhall School of Music and Drama and the National Opera Studio. He was one of the inaugural 'Rising Stars' of the Orchestra of the Age of Enlightenment and was a founder member of the award-winning British vocal ensemble Voces8, with whom he toured internationally for ten years. In the 2023/24 season he sings Zuniga Carmen and Sprecher Die Zauberflöte both for Glyndebourne Opera. He also sings Richard Strauss’ wistful one-act opera Daphne on the concert platform with The Orchestra of Scottish Opera, Bach’s Matthäus-Passion with Collegium Vocale Gent on a tour that includes significant concert halls. Recent operatic engagements include André Thorel Thérèse (Scottish Opera), Theseus A Midsummer Night's Dream (Glyndebourne Opera), Don Pizarro Fidelio (Glyndebourne tour); Colline La bohème (Nevill Holt Opera); Snug A Midsummer Night’s Dream (Scottish Opera); Commendatore Don Giovanni (Nevill Holt Opera, Oxford Sinfonia); his role debut as Fafner Das Rheingold (Grimeborn); Angelotti Tosca, Sarastro and Speaker of the Temple Die Zauberflöte, Count Ceprano and cover Sparafucile Rigoletto, and Immigration Officer Flight (Scottish Opera); The Doctor Pelléas et Mélisande, cover Don Geronio Il turco in Italia, and cover La Roche Capriccio (Garsington Opera); Plutone in Monteverdi's L'Orfeo (L'Arpeggiata); Seneca L'incoronazione di Poppea (Bach Collegium Japan); and The Cold Genius and Aeolus King Arthur (Gabrieli Consort). Equally in demand on the concert platform, his recent performances include Mozart Mass in C Minor with Royal Northern Sinfonia, Elgar The Apostles with The Hallé Orhestra, Bach Christmas Oratorio with Monteverdi Choir and Orchestra and Handel’s Messiah with Huddersfield Choral Society, Handel’s Messiah with the Royal Philharmonic Orchestra at the Royal Albert Hall; St Matthew Passion at the Valetta International Baroque Festival, Israel in Egypt with William Christie at the BBC Proms, The Creation cond. Adam Fischer, Harmoniemesse cond. Andras Schiff and the world premiere of Sally Beamish’s The Judas Passion (all with the Orchestra of the Age of Enlightenment); Bach’s St John Passion (Tchaikovsky Concert Hall, Moscow); Purcell’s Begin The Song (Arcangelo at Wigmore Hall). He sings regularly with the Early Opera Company, La Nuova Musica, Holland Baroque and Les Inventions, and is a soloist for the Bach, The Universe and Everything concert series at Kings Place, London. He also appears as a soloist on L’Arpeggiata’s recording Himmelsmusik. His concert repertoire includes Handel’s Dixit Dominus with the Monteverdi Choir at the BBC Proms and the Berliner Philharmonie, Bach’s St John Passion with the Academy of Ancient Music at the Barbican, Haydn’s Nelson Mass and Mozart’s Requiem at the Wimbledon International Music Festival, B Minor Mass (Cadogan Hall); Christmas Oratorio and Messiah (Hitomi Hall, Tokyo and with the Orchestra of Opera North); Bach Wachet Auf and Erfreut Euch (Dijon Opera House); Vaughan Williams’ Serenade to Music (Royal Festival Hall, cond. John Wilson) and Fantasia on Christmas Carols (Isumi Hall, Osaka); Purcell O Sing Unto the Lord (Gabrieli Consort) and Phoebus Dido and Aeneas (L’Arpeggiata at Oudemuziek Festival, Utrecht); Beethoven Symphony No. 9, Theodora, Dvorak Stabat Mater, Rossini Stabat Mater and Verdi Requiem. Dingle is a recipient of a Sybil Tutton Opera Award administered by Help Musicians UK.
On the CD, A Purcell Collection, Voces8
Nice!! 😮
Oh my. It's the music used in advertisement-- for diamonds, I think. Grateful not to sing the tenor or bass part....
Yes, I was startled when I first it. It does have "commcercial" appeal
Unfortunately this record doesn´t make clear that with this sonata Biber described the martyrdom of Saint Polycarp in Smyrna in the year 156. Biber composed only one trill for one trumpet. This is when the governor flipped a coin in order to find the verdict for St. Polycarp.
Biber gave exact instructions on where the eight trumpeters should stand. “Das Tromba 1 et 2 auch 5 undt 6, alie vier müssen beysammen stehen; undt Tromba 3, 4, 7, 8 auch beysammen, denn sie gehen in Tripla ad duos choros” (Trumpets 1, 2, 5 and 6 must all stand together, and trumpets 3, 4, 7 and 8 together, because in the triple time sections they form two choirs), i.e., the 3/2 time is set for double choir. Thus he wanted to make certain that the antiphonal sections were placed in what amounted to stereophonic positions, so that the music could be heard with equal balance from all sides of the church auditorium. Biber’s great skill is shown in this work in which he was subject to the strict limitations of natural tone instruments. Moreover, he apparently had only four versatile clarion players at his disposal, the other four trumpeters being able to play only the first six natural tones. Biber overcame this further complication cleverly through the most unusual employment of a string bass and an organ and, consequently, could avail himself of a much richer set of harmonic possibilities.
@@NYCNexus Hi Nexus, thank you for your comment. The strange numbering Biber used for the trumpets has a good reason. He wanted to show that for the governor (allabreve sections) normal rules are valid (1 to 8). But for St. Polycarp (triple sections) different (heavenly) rules (trumpets 1,2,5,6 and 3,4,7,8) are valid. So he is leveling up the saint not only by the triple time (holy trinity) but also by the double choirs composition style (Venezian style). Unfortunately all printed editions I know about renumbered the trumpets for no reason. The reinforcement of the BC Biber mentioned in the second part of his notabene on the title sheet means, that there is a short phase in which the people loudly claim that Polycarp must be burned. Biber wanted to have the BC to be as strong as possible for this short phase. There is really a lot more to say about this interesting composition. But it cannot be said in a few lines comment.
De todas las cantatas o metetes (misas católicas) de Schubert ésta es mi favorita es casi una obra maestra por sus formar y el tratamiento de las formas... Excelente trabajo... Muchas gracias.
The reverb is weird
I'll redo the video (with trackers) when I get the chance. I haven't listened to this since I posted it.