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
Mostrar mensagens com a etiqueta Francia. Mostrar todas as mensagens
Mostrar mensagens com a etiqueta Francia. Mostrar todas as mensagens
1 de março de 2019
27 de dezembro de 2018
2 de novembro de 2018
4 de julho de 2018
Francis Poulenc
Francis Jean Marcel Poulenc (French: [fʁɑ̃sis ʒɑ̃ maʁsɛl pulɛ̃k]; 7 January 1899 – 30 January 1963) was a French composer and pianist. His compositions include mélodies, solo piano works, chamber music, choral pieces, operas, ballets, and orchestral concert music. Among the best-known are the piano suite Trois mouvements perpétuels (1919), the ballet Les biches (1923), the Concert champêtre (1928) for harpsichord and orchestra, the Organ Concerto (1938), the opera Dialogues des Carmélites (1957), and the Gloria (1959) for soprano, choir and orchestra.
As the only son of a prosperous manufacturer Poulenc was expected to follow his father into the family firm, and he was not allowed to enrol at a music college. Largely self-educated musically, he studied with the pianist Ricardo Viñes, who became his mentor after the composer's parents died. Poulenc soon came under the influence of Erik Satie, under whose tutelage he became one of a group of young composers known collectively as Les Six. In his early works Poulenc became known for his high spirits and irreverence. During the 1930s a much more serious side to his nature emerged, particularly in the religious music he composed from 1936 onwards, which he alternated with his more light-hearted works.
In addition to composing, Poulenc was an accomplished pianist. He was particularly celebrated for his performing partnerships with the baritone Pierre Bernac (who also advised him in vocal writing) and the soprano Denise Duval, touring in Europe and America with each, and making many recordings. He was among the first composers to see the importance of the gramophone, and he recorded extensively from 1928 onwards.
In his later years, and for decades after his death, Poulenc had a reputation, particularly in his native country, as a humorous, lightweight composer, and his religious music was often overlooked.
As the only son of a prosperous manufacturer Poulenc was expected to follow his father into the family firm, and he was not allowed to enrol at a music college. Largely self-educated musically, he studied with the pianist Ricardo Viñes, who became his mentor after the composer's parents died. Poulenc soon came under the influence of Erik Satie, under whose tutelage he became one of a group of young composers known collectively as Les Six. In his early works Poulenc became known for his high spirits and irreverence. During the 1930s a much more serious side to his nature emerged, particularly in the religious music he composed from 1936 onwards, which he alternated with his more light-hearted works.
In addition to composing, Poulenc was an accomplished pianist. He was particularly celebrated for his performing partnerships with the baritone Pierre Bernac (who also advised him in vocal writing) and the soprano Denise Duval, touring in Europe and America with each, and making many recordings. He was among the first composers to see the importance of the gramophone, and he recorded extensively from 1928 onwards.
In his later years, and for decades after his death, Poulenc had a reputation, particularly in his native country, as a humorous, lightweight composer, and his religious music was often overlooked.
During the 21st century more attention has been given to his serious works, with many new productions of Dialogues des Carmélites and La voix humaine worldwide, and numerous live and recorded performances of his songs and choral music.
He was a member of a pious Roman Catholic family from Espalion in the département of Aveyron. Jenny Poulenc was from a Parisian family with wide artistic interests. In Poulenc's view, the two sides of his nature grew out of this background: a deep religious faith from his father's family and a worldly and artistic side from his mother's. The critic Claude Rostand later described Poulenc as "half monk and half naughty boy".
Poulenc was born in the 8th arrondissement of Paris, the younger child and only son of Émile Poulenc and his wife, Jenny, née Royer. Émile Poulenc was a joint owner of the Poulenc Frères, a successful manufacturer of pharmaceuticals (later Rhône-Poulenc).
He was a member of a pious Roman Catholic family from Espalion in the département of Aveyron. Jenny Poulenc was from a Parisian family with wide artistic interests. In Poulenc's view, the two sides of his nature grew out of this background: a deep religious faith from his father's family and a worldly and artistic side from his mother's. The critic Claude Rostand later described Poulenc as "half monk and half naughty boy".
28 de outubro de 2017
6 de agosto de 2017
26 de janeiro de 2017
Spanish Lute Music of the Renaissance
00:00 - Luis de Milán (ca.1500--1561) Pavana II del tercero y quarto tono
01:58 - Luis de Milán (ca.1500--1561) Fantasia XII del terceo y quarto tono
04:56 - Alonso Mudarra (ca.1510-1580) Fantasia que contrahaze la harpa en la manera de Ludovico
07:04 - Luis de Narváez (1500-c.1555) Mille regres. La cancion del Emperador
Konrad Ragossnig, Renaissance lute
Lista di compositori rinascimental
26 de dezembro de 2016
27 de abril de 2015
8 de março de 2015
Portugal: faute de moyens, le Conservatoire national sombre dans la vétusté
Le Conservatoire, qui a formé depuis 1835 des générations de musiciens, est marqué par les outrages du temps. Les vitres, à tous les étages, sont réparées avec des morceaux de ruban adhésif. Partout, la peinture se décolle des murs. L'humidité se respire à plein nez dans le grand escalier.
- Leçon en plein air -
La fermeture, l'an dernier, de dix salles sur soixante, dont le plafond gorgé d'eau s'était effondré ou menaçait de tomber, a donné le coup d'envoi de la mobilisation d'une "Commission de défense du Conservatoire national", qui rassemble professeurs, élèves et parents.
La semaine dernière, les cours de musique ont été donnés en plein air, sur l'une des places touristiques de la capitale portugaise, titillant les oreilles des passants dans une mélodieuse cacophonie.
Il y avait ici un cours de guitare. Là de flûte baroque. Un peu plus loin, un professeur expliquait à ses élèves, derrière de fines lunettes rouges, les rudiments des techniques de composition."Au moins, ici, pas de risque que le toit nous tombe sur la tête", commentait Anne Victorino d'Almeida, une professeur de violon.La réaction du ministre de l'Education, Nuno Crato, ne s'est pas fait attendre: les travaux "sont sur le point de commencer", a-t-il promis.Mais pour la directrice du Conservatoire, Mafalda Pernao, les travaux annoncés "permettront à peine de rouvrir les salles fermées, de ravaler le patio et de réparer les fuites du toit"."Le ministère voulait diviser notre budget par deux en 2014", ajoute-t-elle. Finalement, l'école a conservé une bonne partie de sa dotation, soit un peu plus de 160.000 euros. "Mais il a fallu que je me batte!".- 'Il pleuvait pendant les cours' -
Le budget 2015 n'est pas encore fixé. Mais l'enveloppe globale du ministère de l'Education, 5,5 milliards d'euros cette année, a fondu de 700 millions d'euros, alors que le Portugal sort d'un plan d'aide international accordé en 2011 en échange d'un sévère plan d'austérité."Il y a de l'argent, c'est une question de choix politique", affirme Mafalda Pernao. En attendant, la directrice pare au plus pressé, organise tant bien que mal les cours et les répétitions.Parfois, il faut bricoler. Dans une salle du troisième étage, Rosa Sa interrompt son cours de violon et montre le plafond recouvert de bâches de plastique. "Il pleuvait pendant les cours, du coup on n'avait plus besoin de métronome", dit-elle avec un brin d'ironie.Dans la prestigieuse salle de spectacle du Conservatoire, les boiseries sont fanées, le tissu vert qui recouvre les sièges est élimé et, ça et là, une planchette de bois, qui a dû être un accoudoir, traîne par terre. L'un des balcons ne tient plus que grâce à des soutiens métalliques.Dans ce décor de grandeur passée, seule la scène paraît neuve. L'Etat n'y est pour rien, explique la directrice: "Ce sont les spectacles donnés par les élèves, dans cette salle mais aussi dans la rue, qui ont permis de récolter l'argent nécessaire à sa rénovation".
23 de maio de 2012
5 de maio de 2008
22 de março de 2008
Drôles d'oiseaux - La bande annonce
Rouge, saumon, blanc, noir, crête, couleur, chanteur ou Hartz, tous ces noms sont des qualificatifs qui concernent des oiseaux ! Des oiseaux de concours, des canaris, des perruches, aimés et bichonnés, qui vont participer aux Championnats de France d'oiseaux d'Amiens. A chaque oiseau sa catégorie : couleur, allure, chant. Le "couleur" aura un givrage sans défaut, sa bague bien en place et pas une plume qui dépasse, le "crête" aura une huppe comme un impeccable parapluie sur la tête, le "Hartz", canari chanteur, fera entendre sa roulée profonde, sa berceuse ou sa grognée à la lumière du jour.
Drôles d'oiseaux - L'émission
A chaque oiseau sa catégorie : couleur, allure, chant. Le " couleur " aura un givrage sans défaut, sa bague bien en place et pas une plume qui dépasse, le " crête " aura une huppe comme un impeccable parapluie sur la tête, le " Hartz ", canari chanteur, fera entendre sa roulée profonde, sa berceuse ou sa grognée à la lumière du jour. Pour " peindre " un oiseau de concours, il faut tout cela et la passion en plus.
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