Este site dedica-se às aves e a relação com o Homem. O canto do Canário Timbrado, Canário Harz Roller, do canário Malinois e outros canários.. O objectivo de site é contar as aventuras e os arcos de descobertas relacionados com Homem e as aves. This site is dedicated to birds.singing canaries song,canaries,canaries de chant. carmelita=carmelo=jardim
30 de novembro de 2013
Malinois Waterslager canary bird
Stamm registrato all'Interregionale Veneto-Trentino 2013 a Bassano del Grappa. Punti 333 A-97 B-70 C-91 D-75
giudice: Marini Umberto
27 de novembro de 2013
Reggio Emilia 2013 - Malinois Waterlager canary bird
Stamm vincitore a Reggio Emilia 2013 di Luigi Gerosa punti 461
26 de novembro de 2013
24 de novembro de 2013
Quieres ayudar a Fernando a que puedan tener reyes sus hijos?
Hola
otro año mas pido vuestra colaboracion , al no poder comprarles los
reyes a mis hijos, tengo 3 hijos una ya es independiente, pero tengo dos
hijos dependientes severos , con minusvalia de una enfermedad muscular
degenerativa con limite de vida , a mi hija le han quitado la ayuda
economica a la dependencia y a mi hijo un 15% en total mas de 600 euros,
mi hija cobra una ayuda por hijo a cargo lo cual nunca puedo coger nada
por pagos de casa, luz , agua. en fin de hay no me queda nada y de mi
hijo solo puedo coger 400 euros que la
pagar farmacia de medicamentos y pañales y pagar en la tienda , solo nos
quedan a veces unos 100 euros o 150 euros, lo cual no me deja nada ni
para comprarles sus reyes, ya me esta diciendo si van a tener reyes pero
como les esplico que no puedo comprarles nada, pues no me llega el
dinero, como se le puede esplicar eso a unos niños porque para mi son
niños a parte de que mi hija tenga 30 años y mi hijo 16 mentalmente son
unos niños y clalro como dicen quieren juguetes lo paso muy mal al no
poder darles nada , tengo pedidas otras ayuda a la television al
programa "entre todos " de tve 1 que lo hechan a las 4 de la tarde todos
los dias , hay solicito ayuda para ropa , para las gafas de mi hija y
plantillas de ortopedia hechas a medida para mi hijo, entre otras cosas,
le di mi numeor de telefono y hasta ahora no obstuve respuesta y eh
llamado muchisimas veces y no hay manera siempre comunica, por eso
solicito vuestra ayuda como hice los pasados reyes magos que tuvieron
mis hijos de todo mucha gente se movilizo, se que mucha gente esta muy
mal con cualquier cosa se conformaran, gracias , si quereis saber mas
poneos en contacto conmigo , gracias .
21 de novembro de 2013
20 de novembro de 2013
19 de novembro de 2013
18 de novembro de 2013
Santiago Lara, finalista del Concurso de Arte Flamenco de Córdoba
Santiago Lara, finalista del Concurso de Arte Flamenco de Córdoba
El guitarrista participará en esta fase, del 23 y al 26 de este mes, junto a Javier Conde y Niño Seve
El guitarrista Santiago Lara participará en la gran final del Concurso Nacional de Arte Flamenco de Córdoba, que se celebrará entre los días 23 y 26 de noviembre. Así lo decidió el jurado, compuesto por afamados guitarristas entre los que se encuentran Manolo Sanlúcar, Víctor Monge 'Serranito' y Manolo Franco, entre otros. A pesar de que eran cuatro las plazas inicialmente establecidas para participar en la fase final, el jurado sólo elegió a tres de los siete concursantes que tomaron parte en la fase selectiva. Así, junto al jerezano lucharán por el galardón el extremeño Javier Conde, y el cordobés Niño Seve.
El primer premio de este prestigioso certamen está dotado con 10.000 euros y diploma, mientras que el segundo y el tercero recibirán 4.000 y 2.000, respectivamente.
El primer premio de este prestigioso certamen está dotado con 10.000 euros y diploma, mientras que el segundo y el tercero recibirán 4.000 y 2.000, respectivamente.
F. Pereira jerez
The Nightingale for harps and voice
By Deborah Henson-Conant. Performed on March 7th, 2010 at Harp Plus, University of Nevada, Reno. UNR harp ensemble included Tara Arnold, Sushi Aquino, Brittany Iverson, with guest artist alto MaryAnne Stashevsky-Ashley
15 de novembro de 2013
Nicolai Karlovich Medtner
Nikolái Kárlovich Médtner (Moscú, 5 de enero de 1880 – Londres, 13 de noviembre de 1951) fue un compositor y pianista ruso.
Joven contemporáneo de Serguéi Rajmáninov y Alexander Scriabin, escribió un gran número de composiciones en las que en todas ellas aparece el piano.
Su obra se compone de 14 sonatas para piano, 3 sonatas para violín, tres obras para dos pianos, muchas piezas para piano y 108 canciones, entre las que se incluyen dos obras para vocalise (en:vocalise). Sus 38 piezas para piano, que denominó de forma particular Skazki (cuentos o cuentos de hadas), constituyen su obra más original y un preludio de sus sonatas.
Nikolaï Karlovitch Medtner (en russe : Николай Карлович Метнер) est un compositeur et pianiste russe, né le 24 décembre 1879 du calendrier julien/5 janvier 1880 à Moscou et mort le 13 novembre 1951 à Londres.
Cadet d'une famille de cinq enfants (dont Alexandre, qui deviendra chef d'orchestre), il est l'un des jeunes contemporains de Serge Rachmaninov et Alexandre Scriabine qui, à l'exception d'un Quintette, de cinq oeuvres pour violon et 108 mélodies, a entièrement privilégié le piano. Il est, par le nombre de ses compositions pour cet instrument, le compositeur russe la plus prolifique de l'ère romantique et post-romantique..
Medtner entre au Conservatoire de Moscou dès l'âge de dix ans. Diplômé en 1900, il reçoit le "prix Anton Rubinstein" alors qu'il a travaillé avec des professeurs comme Paul Pabst, Vassili Sapelnikov, Vassili Safonov et Sergueï Taneïev. C'est sur les conseils de ce dernier qu'il se consacre à la composition au détriment d'une carrière de virtuose du piano. Il restera toutefois un excellent pianiste qui s'adonnera, dans la même lignée que Rachmaninov, Busoni ou Godowsky, à faire une carrière de concertiste en parallèle à sa carrière de compositeur.
Il se marie avec Anna Mikhaïlovna Bratenskaïa en 1918.
Il quitte en 1921 la Russie dont l'instabilité politique lui déplaît, à l'instar de son ami Rachmaninov. En 1924, l'un et l'autre se rendent aux États-Unis, puis au Canada, pour se produire en tournée. Il peut ainsi faire entendre son concerto pour piano n° 1, dirigé par des baguettes prestigieuses comme Fritz Reiner ou Leopold Stokowski. Peu enclin au rythme des tournées, il retourne en Russie en 1927 puis se rend en France où il rencontre l'avant-garde musicale. Il finit par s'établir à Londres en 1936, où il enseigne, joue et compose sereinement jusqu'à sa mort.
Fidèle défenseur des « Lois sacrées de l'Art éternel » à une époque où le langage musical est en pleine mutation, défenseur de la tonalité, de l'harmonie et du contrepoint issu des grands maîtres du passé, il défend ses opinions très conservatrices dans un essai publié en 1935 avec le soutien de Rachmaninov intitulé La muse et la Mode. Il sera très critique, toute sa vie durant, du travail de l'avant-garde musicale ( qui, pour lui, ne commence ni par Stravinsky, Debussy ou Prokofiev, mais bien avec Strauss ou Reger!) qu'il qualifiera d'hérésie.
Son œuvre entier, gigantesque, suit cette trajectoire: du premier au dernier opus, jamais le compositeur ne quittera les formes, le langage et les techniques musicales hérités de ses maîtres tels que Bach, Beethoven ou Brahms.
Joven contemporáneo de Serguéi Rajmáninov y Alexander Scriabin, escribió un gran número de composiciones en las que en todas ellas aparece el piano.
Su obra se compone de 14 sonatas para piano, 3 sonatas para violín, tres obras para dos pianos, muchas piezas para piano y 108 canciones, entre las que se incluyen dos obras para vocalise (en:vocalise). Sus 38 piezas para piano, que denominó de forma particular Skazki (cuentos o cuentos de hadas), constituyen su obra más original y un preludio de sus sonatas.
Nikolaï Karlovitch Medtner (en russe : Николай Карлович Метнер) est un compositeur et pianiste russe, né le 24 décembre 1879 du calendrier julien/5 janvier 1880 à Moscou et mort le 13 novembre 1951 à Londres.
Cadet d'une famille de cinq enfants (dont Alexandre, qui deviendra chef d'orchestre), il est l'un des jeunes contemporains de Serge Rachmaninov et Alexandre Scriabine qui, à l'exception d'un Quintette, de cinq oeuvres pour violon et 108 mélodies, a entièrement privilégié le piano. Il est, par le nombre de ses compositions pour cet instrument, le compositeur russe la plus prolifique de l'ère romantique et post-romantique..
Medtner entre au Conservatoire de Moscou dès l'âge de dix ans. Diplômé en 1900, il reçoit le "prix Anton Rubinstein" alors qu'il a travaillé avec des professeurs comme Paul Pabst, Vassili Sapelnikov, Vassili Safonov et Sergueï Taneïev. C'est sur les conseils de ce dernier qu'il se consacre à la composition au détriment d'une carrière de virtuose du piano. Il restera toutefois un excellent pianiste qui s'adonnera, dans la même lignée que Rachmaninov, Busoni ou Godowsky, à faire une carrière de concertiste en parallèle à sa carrière de compositeur.
Il se marie avec Anna Mikhaïlovna Bratenskaïa en 1918.
Il quitte en 1921 la Russie dont l'instabilité politique lui déplaît, à l'instar de son ami Rachmaninov. En 1924, l'un et l'autre se rendent aux États-Unis, puis au Canada, pour se produire en tournée. Il peut ainsi faire entendre son concerto pour piano n° 1, dirigé par des baguettes prestigieuses comme Fritz Reiner ou Leopold Stokowski. Peu enclin au rythme des tournées, il retourne en Russie en 1927 puis se rend en France où il rencontre l'avant-garde musicale. Il finit par s'établir à Londres en 1936, où il enseigne, joue et compose sereinement jusqu'à sa mort.
Fidèle défenseur des « Lois sacrées de l'Art éternel » à une époque où le langage musical est en pleine mutation, défenseur de la tonalité, de l'harmonie et du contrepoint issu des grands maîtres du passé, il défend ses opinions très conservatrices dans un essai publié en 1935 avec le soutien de Rachmaninov intitulé La muse et la Mode. Il sera très critique, toute sa vie durant, du travail de l'avant-garde musicale ( qui, pour lui, ne commence ni par Stravinsky, Debussy ou Prokofiev, mais bien avec Strauss ou Reger!) qu'il qualifiera d'hérésie.
Son œuvre entier, gigantesque, suit cette trajectoire: du premier au dernier opus, jamais le compositeur ne quittera les formes, le langage et les techniques musicales hérités de ses maîtres tels que Bach, Beethoven ou Brahms.
Fukushima regista nova fuga de água radioactiva
Uma nova fuga em um depósito de água radioactiva foi detectada esta sexta-feira na central nuclear de Fukushima, gravemente danificada pelo tsunami de Março de 2011, anunciou a Tepco, empresa que opera o local.
A fuga foi detectada às 8:50 (hora local), anunciou a empresa.«Caía uma gota a cada quatro segundos», informou a Tepco.
Uma medida efetuada a 50 cm do ponto de queda da água revelou uma radioactividade de 30 milisieverts por hora, segundo um comunicado.
O nível é considerado elevado, mas constituído sobretudo de raios beta, dos quais os trabalhadores podem proteger-se facilmente, explicou a empresa.
A perda acontece a uma altura de 2,5 metros, na parte inferior de um imenso depósito cilíndrico de placas de aço.
Em Agosto, quase 300 toneladas de água radioactiva vazaram de um tanque similar, num incidente considerado «grave» pela Autoridade de Regulamentação Nuclear.
Os depósitos, alguns deles com 11 metros de altura por 12 de diâmetro, foram instalados de forma precipitada para conter as centenas de milhares de toneladas de água contaminada da central nuclear danificada no tsunami de Março de 2011.
A Tepco pretende substituir os depósitos por outros modelos mais seguros e com maior capacidade em 2016.
Os problemas provocados pela água radioactiva e as perdas recorrentes dos depósitos preocupam a comunidade internacional, já que parte do líquido contaminado chega ao Oceano Pacífico.
in diário digital
14 de novembro de 2013
Falcoaria nos jardins do Palácio de Queluz
A Parques de Sintra disponibiliza, de terça a domingo, às 12h, nos jardins do Palácio de Queluz, exibições de falcoaria, num programa que inclui também a visita guiada às instalações das aves, bem como à nova exposição sobre falcoaria.
Pretende-se, com o projeto, recuperar e dar a conhecer uma arte que teve grande expressão na segunda metade do século XVIII, nomeadamente no Palácio de Queluz, altura em que a Casa Real detinha os falcões de caça mais raros e cobiçados (algumas das aves eram trazidas de lugares longínquos, como os presentes de luxo oferecidos pelos reis da Dinamarca ou pelo Grão-mestre da Ordem de Malta).
Exibições de Falcoaria + Visita guiada às instalações + Visita guiada à exposição
Terça-feira a domingo, 12h00
Suplemento ao bilhete para o Palácio ou Jardins: Adultos 7 euros | Jovem 3,5 euros*
*Este valor consiste num suplemento ao bilhete para os Jardins ou Palácio de Queluz
As exibições de voo poderão ser canceladas sem aviso prévio devido a condições meteorológicas adversas
As aves de rapina que podem ser apreciadas no Palácio de Queluz (falcões, águias, e algumas espécies de rapinas noturnas), foram obtidas através de reprodução em cativeiro, e podem também ser observadas no seu local de repouso, junto à cafetaria do jardim (recentemente reaberta), bem como posar para as fotografias dos visitantes, que as podem pousar no próprio punho para o efeito, sempre com o acompanhamento dos falcoeiros.
Os visitantes poderão assim, com a adquisição de um suplemento ao bilhete para o Palácio ou Jardim, assistir aos voos das aves e, de seguida, serem guiados pelos falcoeiros numa visita de apresentação das instalações da falcoaria, conhecendo as caraterísticas de cada espécie e os pormenores relacionados com as rotinas diárias de manutenção. Por último, os visitantes são também guiados por uma exposição, através da qual é possível descobrir mais detalhes sobre a arte da falcoaria, a sua classificação como Património Cultural Imaterial da Humanidade, as origens, a História e a evolução, bem como aspetos da ecologia, da morfologia das aves, das técnicas de adestramento e das tradições a elas associadas, entre muitas outras informações. Esta exposição, possível também graças ao apoio da Fundação Calouste Gulbenkian ao nível da cedência de mobiliário expositivo, inclui painéis informativos, a exibição de peças relacionadas com a temática, vídeo e um slideshow sobre a falcoaria.
Sobre a falcoaria
A falcoaria, ou cetraria, consiste na arte de adestrar e caçar com aves de presa. O mais antigo testemunho desta prática é um baixo-relevo encontrado nas ruínas de Khorsabad, na antiga Mesopotâmia, datado do ano 1.400 a.C.
Do seu berço asiático inicial, a falcoaria expandiu-se para oriente com as invasões mongólicas e foi introduzida na China, de onde chegam as primeiras notícias escritas sobre a sua prática no século VII antes da era cristã. A sua introdução no Ocidente deu-se em período mais tardio.
Na Península Ibérica foi introduzida pelos Suevos e Visigodos, muito antes da fundação de Portugal.
A falcoaria gozou sempre de um estatuto de modalidade de caça nobre e, nesse sentido, manteve-se apanágio das casas reais, não como forma de obtenção de alimento mas como entretenimento, tendo evoluído para uma actividade complexa e sofisticada, que lhe conferiu o estatuto de arte.
Em 2010 a UNESCO reconheceu a riqueza do legado histórico e artístico da falcoaria, registando-a na lista do Património Cultural Imaterial da Humanidade.
As aves de rapina formam um grupo muito biodiverso e estão representadas em Portugal por cerca de 30 espécies diferentes. Têm uma longevidade que pode variar entre os 15 e os 50 anos, consoante a espécie, e um peso que pode oscilar entre 150 gramas do pequeno falcão-peneireiro e os 6 kilos da águia-real. Em regra, os falcões são caçadores que se alimentam de vertebrados de sangue quente, sobretudo outras aves, mas existem algumas rapinas com dietas muito especializadas, incluindo a pesca e hábitos necrófagos. As rapinas são consideradas um bom indicador da qualidade e vitalidade dos ecossistemas, gozando de estatuto de proteção integral.
Apenas um reduzido número de espécies é utilizado na prática da falcoaria, sendo conhecidas como "aves nobres".
Apesar do seu ar poderoso, uma vez adestradas não representam qualquer perigo para o Homem, devendo, no entanto, ser manuseadas com precaução utilizando luvas de cabedal. A utilização de falcões na caça reproduz um ato natural de predação, não causa abates massivos, não compromete o equilíbrio natural das espécies, pelo que a falcoaria é considerada uma forma de caça sustentável e ecológica.
A Falcoaria do Palácio de Queluz
Actualmente os falcões e restantes aves de rapina no Palácio de Queluz encontram-se alojados nas antigas jaulas dos Jardins, perto do Canal de Azulejos e da Escadaria Robillion. Este local, que em tempos albergou algumas espécies exóticas, sofreu agora alterações para receber as aves com todo o conforto.
Esta zona constituiu desde sempre um pólo lúdico bastante importante onde se edificaram vários espaços vocacionados para o ócio e o entretenimento.
Nas jaulas, construídas em 1822 sob o Terraço do Pavilhão Robillion e ladeando a Cascata das Conchas, ainda sobreviviam em 1833, durante o período sangrento das lutas liberais, duas leoas, dois tigres e alguns macacos, testemunho de um gosto pelo exótico que, em diferentes níveis, sempre existiu em Queluz.
Antes da Partida da Família Real para o Brasil, na totalidade das Reais Quintas de Queluz, situadas nas envolvências do Palácio, existiam búfalos, corsas, gamos, veados, carneiros e cabras de Angola, entre outras espécies animais mais vulgares.
Nos numerosos lagos dos jardins vivia uma população de 183 cisnes brancos e pretos, para além das pombas, canários, catatuas e águias que a Rainha Carlota Joaquina e as Infantas suas filhas possuíam em gaiolas e viveiros.
Exibições de Falcoaria + Visita guiada às instalações + Visita guiada à exposição
Terça-feira a domingo, 12h00
13 de novembro de 2013
Se estás nas grandes cidades de Portugal vai até Portalegre ...
Quando a formação do reino de Portugal, no século XII, é provável que
existisse no vale que separa a Penha de S. Tomé (Serra da Penha), do
Cabeço do mouro, algumas casas que forneciam refúgio e mantimentos aos
que por estas passagens viajassem.
Neste Local de passagem (porto),
situado numa região verdejante e aprazível (alegre), o casario foi
aumentando, constituindo a cidade de Porto Alegre, que com o decorrer do
tempo passou-se a designar Portalegre.
Os documentos históricos demonstram que em 1229 Portalegre era vila do concelho de Marvão e que em 1253 já era sede do concelho.
O
1º foral foi-lhe atribuído por D. Afonso III em 1259. Este monarca
mandou edificar uma fortaleza que, contudo, ficou incompleta. Em 1271 D.
Afonso III doou ao seu segundo filho, o infante D. Afonso, as vilas de Portalegre e Marvão e os senhorios de Vide e Arronches.
Restaurantes
além da exposição....
Air on the G String (Suite No. 3, BWV 1068) , J. S. Bach
Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer, organist, harpsichordist, violist, and violinist of the Baroque period. He enriched many established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Mass in B minor, the The Well-Tempered Clavier, his cantatas, chorales, partitas, Passions, and organ works. His music is revered for its intellectual depth, technical command, and artistic beauty.
Bach was born in Eisenach, Saxe-Eisenach, into a very musical family; his father, Johann Ambrosius Bach, was the director of the town musicians, and all of his uncles were professional musicians. His father taught him to play violin and harpsichord, and his brother, Johann Christoph Bach, taught him the clavichord and exposed him to much contemporary music. Bach also went to St Michael's School in Lüneburg because of his singing skills. After graduating, he held several musical posts across Germany: he served as Kapellmeister (director of music) to Leopold, Prince of Anhalt-Köthen, Cantor of Thomasschule in Leipzig, and Royal Court Composer to August III. Bach's health and vision declined in 1749, and he died on 28 July 1750. Modern historians believe that his death was caused by a combination of stroke and pneumonia.
Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognised as a great composer until a revival of interest and performances of his music in the first half of the 19th century. He is now generally regarded as one of the main composers of the Baroque period, and as one of the greatest composers of all time
12 de novembro de 2013
11 de novembro de 2013
Miquel Llobet Solés
Miquel Llobet Solés (18 October 1878 – 22 February 1938) was a classical guitarist, born in Barcelona (Catalonia, Spain). Llobet was a renowned virtuoso who toured Europe and America extensively. He made well known arrangements of Catalan folk songs for the solo guitar and is also the composer of original works.
Some details of Llobet's biography are confused and contradictory. The son of a wood sculptor, he was baptized in the month of his birth in the church of Sant Just i Pastor on the Carrer de la Palma de Sant Just, the street where he spent his boyhood, just a few streets from the Carrer Gignàs, which (from 1884 through 1885) was the residence of his eventual teacher Francisco Tárrega. He was trained as an artist, revealing a talent for painting, and continued to paint throughout his life. His earliest musical training was on the violin and the piano. Later he received a guitar as a gift from an uncle. In December, 1889, Llobet heard Antonio Jiménez Manjón (1866–1919) give a guitar recital at the Teatre Catalunya in Barcelona, and was inspired to seek instruction on the guitar from Magí Alegre.
Llobet first met, and played for, the great guitar pedagogue Francisco Tárrega in October 1892. Two years later he began to study with him at the Municipal Conservatory of Music in Barcelona. By his own account, his studies with Tárrega do not seem to have been based on any particular method, rather Llobet would observe Tárrega play and then experiment with his techniques at home. "Così, più che impararla, io sperimentavo la mia tecnica sulla chitarra". ("In this way, more than by learning it, I experimented with my guitar technique.")
He began giving private concerts for intimate gatherings in 1898. In 1900, he met Concepción Jacoby, Tárrega’s patron, who also became his own patron, helping him to launch an international career. His first public concert took place in 1901 at the Conservatory of . During that same year, he also performed at conservatories in Seville and Málaga, where he was awarded the honorary title of Professor. He played at the Teatro de la Comedia in 1902 and before the Spanish Royal Family in Madrid in 1903.
In 1904 in Paris Llobet's first concert outside Spain was presented by Ricardo Viñes, the noted pianist. At this time that he first came into contact with the avant garde. Paris was apparently kind to Llobet, as he returned to live there in 1905, performing at such prestigious venues as the Schola Cantorum, La Trompette and the Société Nationale de Musique. According to Ronald Purcell,he resided there until 1910. In the biographical sketch given by Bruno Tonazzi, Llobet returned to Paris in 1910 but according to Purcell he probably temporarily relocated to Buenos Aires in that year. From there he performed throughout South and Central America and the Caribbean in a series of tours largely arranged by Domingo Prat, (author of the Diccionario de Guitarristas 1933), Juan Anido (father of María Luisa Anido) and Ruiz Romero of the publishing house Romero y Fernandez. In 1912, Llobet gave his first concerts in the United States, performing in Boston, Philadelphia and New York. He then returned to Paris.
In the following years, he continued to perform throughout Europe, particularly in Belgium and the Netherlands. During 1913 and 1914 he performed throughout Germany. According to Purcell, "At the outbreak of World War I, Llobet returned to Buenos Aires," and continued to make trips throughout the Americas.while Tonazzi states that at the outbreak of the First World War he returned to his native land.[ Llobet's concert itinerary seems to have been dominated by performances in the Americas at that time, lending some support to Purcell's claims, however Purcell also implies that Llobet was in Spain about 1915, where he taught his most important pupil, Andrés Segovia.
Segovia's autobiography, written at the height of his career, depicts himself as being self-taught - there are admissions of his seeking out Llobet's advice for a short time, but Segovia is quite clear about the lack of any real influence on his playing. At the age of 22, Segovia was still youthful enough to have received valuable instruction. Purcell states that "At the age of twenty-two (Segovia) pursued what he considered the only direct contact to Tárrega, Llobet, for refinement of his technique and especially for the music that both he and Tárrega had written and transcribed for the guitar..." and that "Segovia, whose performance style and technique reveals [sic] the principles of Tárrega, was basically influenced by Llobet....This stylistic influence can be heard when comparing Llobet's Parlophone Electric recordings (Chanterelle Historical Recordings CHR 001) with Segovia's Angel recordings, ZB 3896".
In 1915, Llobet made one attempt at recording at the Victor studios in New York, but the two sides he recorded, Manuelito and Sueño, were rejected.The prominent guitarist Vahdah Olcott-Bickford, who was living in New York at the time, writes that "he tried to make a recording at the Bell Lab in New Brunswick, New Jersey, but was dissatisfied with the sound." It is also known that he toured the East Coast of the United States in 1912, 1914 and 1917.
In 1920-1921, Llobet played in Spain and toured throughout Germany, performing in Munich, Leipzig, Dresden, Cologne and Stuttgart.
In 1922 he was in Vienna for the first time. When in Vienna, Llobet was frequently a guest in the house of Luise Walker's parents. In 1924, he again toured throughout Germany and Austria, and he concertized in the Americas in 1925.
He returned again to the Americas in 1930 to perform for the Spanish Arts Festival, under the auspices of the Library of Congress. The violinist Antonio Bossa had recommended him, and he was contracted to play six solos, and to arrange and perform Manuel de Falla's Siete Canciones Españolas with soprano Nina Kochitz.
In 1923, he began to teach María Luisa Anido (1907–1997) in Buenos Aires.
By 1925, the two were performing duets and, according to Purcell, about 1930 recorded some of Llobet's duet arrangements on the Odeon-Parlophone label distributed by Decca. These recordings followed a solo series recorded by Llobet on the Parlophon/Electric series out of Barcelona".
The solo recordings, among the first released of the classical guitar, are supposed to have been recorded around 1925, but are from two different sources: Argentina/Odeon recording sessions as well as the earlier Barcelona/Parlophon recording. In response to an inquiry, Purcell stated that "Llobet did not care for the acoustic recording results in 1915 and only recorded electronically.... His recordings were recorded in 1925 and later with Maria Anido". It may be noted that electronic recording was developed by Bell Labs under its Western Electrical branch, and was leased to recording companies under the name of "Westrex Electrical Recording System" beginning in 1925.
Initially only Victor and Columbia records leased it, with an up-front payment of $50,000 each. Under the general management of Louis Sterling, Columbia acquired a number of European, Asian, and U.S. recording companies in 1925. Sterling soon after arranged for a holding company to combine Columbia and the Carl Lindstrom group, which included Parlphone and Odeon, the companies that seem to be the ones under which Llobet's recordings were released.
Llobet toured Europe again in 1930-1931, performing in London, Berlin, Hamburg, Munich, Vienna, Budapest and Bologna among others. On hearing him in Berlin Paul Hindemith declared an intent to compose for the guitar, but did not follow this through - Hindemith's only work for guitar, the Rondo for Three Guitars, had been written in 1925.
From 1932 to 1934, Llobet taught the young Cuban virtuoso José Rey de la Torre at his home in Barcelona. He does not appear to have performed much at this time, but maintained his artistic contacts. Rey writes: "At the time I arrived in Barcelona in 1932, he had almost retired from the concert stage. During the three years that I spent there he left town only once for a month's tour of Scandinavia."
Llobet seems to have enjoyed a somewhat reclusive retirement from the concert stage, Rey de la Torre who, as Llobet's pupil, may well have been his most frequent visitor, writes that "Llobet did not have many visitors..."
He did seem to go out to concerts frequently, walking with his wife, to the Palau close to his home, and met a few influential artists at his large apartment at Via Layetana No. 46 in Barcelona: Emilio Pujol was a frequent guest and Manuel de Falla is known to have visited whenever in that city.
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Some details of Llobet's biography are confused and contradictory. The son of a wood sculptor, he was baptized in the month of his birth in the church of Sant Just i Pastor on the Carrer de la Palma de Sant Just, the street where he spent his boyhood, just a few streets from the Carrer Gignàs, which (from 1884 through 1885) was the residence of his eventual teacher Francisco Tárrega. He was trained as an artist, revealing a talent for painting, and continued to paint throughout his life. His earliest musical training was on the violin and the piano. Later he received a guitar as a gift from an uncle. In December, 1889, Llobet heard Antonio Jiménez Manjón (1866–1919) give a guitar recital at the Teatre Catalunya in Barcelona, and was inspired to seek instruction on the guitar from Magí Alegre.
Llobet first met, and played for, the great guitar pedagogue Francisco Tárrega in October 1892. Two years later he began to study with him at the Municipal Conservatory of Music in Barcelona. By his own account, his studies with Tárrega do not seem to have been based on any particular method, rather Llobet would observe Tárrega play and then experiment with his techniques at home. "Così, più che impararla, io sperimentavo la mia tecnica sulla chitarra". ("In this way, more than by learning it, I experimented with my guitar technique.")
He began giving private concerts for intimate gatherings in 1898. In 1900, he met Concepción Jacoby, Tárrega’s patron, who also became his own patron, helping him to launch an international career. His first public concert took place in 1901 at the Conservatory of . During that same year, he also performed at conservatories in Seville and Málaga, where he was awarded the honorary title of Professor. He played at the Teatro de la Comedia in 1902 and before the Spanish Royal Family in Madrid in 1903.
In 1904 in Paris Llobet's first concert outside Spain was presented by Ricardo Viñes, the noted pianist. At this time that he first came into contact with the avant garde. Paris was apparently kind to Llobet, as he returned to live there in 1905, performing at such prestigious venues as the Schola Cantorum, La Trompette and the Société Nationale de Musique. According to Ronald Purcell,he resided there until 1910. In the biographical sketch given by Bruno Tonazzi, Llobet returned to Paris in 1910 but according to Purcell he probably temporarily relocated to Buenos Aires in that year. From there he performed throughout South and Central America and the Caribbean in a series of tours largely arranged by Domingo Prat, (author of the Diccionario de Guitarristas 1933), Juan Anido (father of María Luisa Anido) and Ruiz Romero of the publishing house Romero y Fernandez. In 1912, Llobet gave his first concerts in the United States, performing in Boston, Philadelphia and New York. He then returned to Paris.
In the following years, he continued to perform throughout Europe, particularly in Belgium and the Netherlands. During 1913 and 1914 he performed throughout Germany. According to Purcell, "At the outbreak of World War I, Llobet returned to Buenos Aires," and continued to make trips throughout the Americas.while Tonazzi states that at the outbreak of the First World War he returned to his native land.[ Llobet's concert itinerary seems to have been dominated by performances in the Americas at that time, lending some support to Purcell's claims, however Purcell also implies that Llobet was in Spain about 1915, where he taught his most important pupil, Andrés Segovia.
Segovia's autobiography, written at the height of his career, depicts himself as being self-taught - there are admissions of his seeking out Llobet's advice for a short time, but Segovia is quite clear about the lack of any real influence on his playing. At the age of 22, Segovia was still youthful enough to have received valuable instruction. Purcell states that "At the age of twenty-two (Segovia) pursued what he considered the only direct contact to Tárrega, Llobet, for refinement of his technique and especially for the music that both he and Tárrega had written and transcribed for the guitar..." and that "Segovia, whose performance style and technique reveals [sic] the principles of Tárrega, was basically influenced by Llobet....This stylistic influence can be heard when comparing Llobet's Parlophone Electric recordings (Chanterelle Historical Recordings CHR 001) with Segovia's Angel recordings, ZB 3896".
In 1915, Llobet made one attempt at recording at the Victor studios in New York, but the two sides he recorded, Manuelito and Sueño, were rejected.The prominent guitarist Vahdah Olcott-Bickford, who was living in New York at the time, writes that "he tried to make a recording at the Bell Lab in New Brunswick, New Jersey, but was dissatisfied with the sound." It is also known that he toured the East Coast of the United States in 1912, 1914 and 1917.
In 1920-1921, Llobet played in Spain and toured throughout Germany, performing in Munich, Leipzig, Dresden, Cologne and Stuttgart.
In 1922 he was in Vienna for the first time. When in Vienna, Llobet was frequently a guest in the house of Luise Walker's parents. In 1924, he again toured throughout Germany and Austria, and he concertized in the Americas in 1925.
He returned again to the Americas in 1930 to perform for the Spanish Arts Festival, under the auspices of the Library of Congress. The violinist Antonio Bossa had recommended him, and he was contracted to play six solos, and to arrange and perform Manuel de Falla's Siete Canciones Españolas with soprano Nina Kochitz.
In 1923, he began to teach María Luisa Anido (1907–1997) in Buenos Aires.
By 1925, the two were performing duets and, according to Purcell, about 1930 recorded some of Llobet's duet arrangements on the Odeon-Parlophone label distributed by Decca. These recordings followed a solo series recorded by Llobet on the Parlophon/Electric series out of Barcelona".
The solo recordings, among the first released of the classical guitar, are supposed to have been recorded around 1925, but are from two different sources: Argentina/Odeon recording sessions as well as the earlier Barcelona/Parlophon recording. In response to an inquiry, Purcell stated that "Llobet did not care for the acoustic recording results in 1915 and only recorded electronically.... His recordings were recorded in 1925 and later with Maria Anido". It may be noted that electronic recording was developed by Bell Labs under its Western Electrical branch, and was leased to recording companies under the name of "Westrex Electrical Recording System" beginning in 1925.
Initially only Victor and Columbia records leased it, with an up-front payment of $50,000 each. Under the general management of Louis Sterling, Columbia acquired a number of European, Asian, and U.S. recording companies in 1925. Sterling soon after arranged for a holding company to combine Columbia and the Carl Lindstrom group, which included Parlphone and Odeon, the companies that seem to be the ones under which Llobet's recordings were released.
Llobet toured Europe again in 1930-1931, performing in London, Berlin, Hamburg, Munich, Vienna, Budapest and Bologna among others. On hearing him in Berlin Paul Hindemith declared an intent to compose for the guitar, but did not follow this through - Hindemith's only work for guitar, the Rondo for Three Guitars, had been written in 1925.
From 1932 to 1934, Llobet taught the young Cuban virtuoso José Rey de la Torre at his home in Barcelona. He does not appear to have performed much at this time, but maintained his artistic contacts. Rey writes: "At the time I arrived in Barcelona in 1932, he had almost retired from the concert stage. During the three years that I spent there he left town only once for a month's tour of Scandinavia."
Llobet seems to have enjoyed a somewhat reclusive retirement from the concert stage, Rey de la Torre who, as Llobet's pupil, may well have been his most frequent visitor, writes that "Llobet did not have many visitors..."
He did seem to go out to concerts frequently, walking with his wife, to the Palau close to his home, and met a few influential artists at his large apartment at Via Layetana No. 46 in Barcelona: Emilio Pujol was a frequent guest and Manuel de Falla is known to have visited whenever in that city.
more in wikipédia
10 de novembro de 2013
8 de novembro de 2013
Campana
La Campana es un giro de ritmo discontinuo,
timbre o sonoridad metálica
(sonido del instrumento campana)
y texto fonético relativamente
limitado por la terminación
en "N", "NK"
o "NG". La consonante
final "N" es la que confiere
la sonoridad acampanada a este giro.
Consideramos más adecuado
potenciar la terminación
"NK", en lugar de "NG",
ya que la campana, por sus especiales
características sonoras,
es uno de los giros del canto de
nuestro canario que más probabilidades
tiene de acusar gangosidad o nasalidad
y estas aumentan con la presencia
de la consonante "G".
VALOR
POSITIVO: Hasta 9 Puntos.
|
GIRO
|
RITMO
EMISION
|
SONORIDAD
|
TEXTO
FÓNETICO
|
CONSONANTES
Y VOCALES
|
EJEMPLO
|
PUNTOS
|
|
CAMPANA
|
DISCONTINUO
|
METÁLICA
|
LIMITADO
|
Este
giro se halla únicamente
limitado por la necesidad del
sonido acampanado, que exige
la terminación en N,
NK, NG
|
Tan
tan tan
Tlan tlan Tlonk tlonk Tonk tonk Tang tang |
Hasta
9
|
7 de novembro de 2013
6 de novembro de 2013
O rousinol ou reiseñor
O rousinol ou reiseñor (Luscinia megarhynchos) é
unha ave paseriforme propia de zonas boscosas ou con árbores moi
coñecida pola beleza do seu canto. Tradicionalmente considerada membro
da familia dos tordos (Turdidae), recentes estudos moleculares clasifícana dentro da familia dos papamoscas (Muscicapidae).
Erna Berger -"Lied der Nachtigall"
Lied der Nachtigall" (The nightingale's song) is another classic Franz Grothe composition.
The song was featured in the 1941 biopic "Die schwedische Nachtigall" which focused on the romance between Swedish singer Jenny Lind and Hans-Christian Andersen. Lind was played by the popular Ilse Werner. Great German soprano Erna Berger dubbed Werner's singing voice in the movie.
Hans-Christian Andersen was played by Joachim Gottschalk. It was the latter's last movie. Gottschalk, his wife Meta Wolff and their son committed suicide in 1941 after Gottschalk had come under increased pressure to divorce his Jewish wife. The collective suicide shocked the movie crowd. It was forbidden to openly talk about the Gottschalk case and friends and famous colleagues were ordered to stay away from the funeral. One of the few to ignore the order was actress Brigitte Horney - a frequent co-star and close friend of Gottschalk.
"Die schwedische Nachtigall" was a successful movie not only in Germany but also abroad. In France "Die schwedische Nachtigall" was called "Jenny Lind - Le Rossignol Suédois". The song "Lied der Nachtigall" became "La chanson du rossignol". It was recorded by the soprano Annie Rozane and Annie Bernard.
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