Orquestra acadêmica no dia 24...

Ok...em primeiro lugar, perdão pela falta de posts. Estava viajando a trabalho e não consegui postar essas semanas. Volto com um momento que julgo importante no festival. A Apresentação do dia 24 a noite. Um dos picos de energia do festival, onde todos puderam soltar as forças...

Aproveitem, Pois semana que vem vou começar a postar coisas menos "boazinhas"como, por exemplo, o teste para escolha de naipes...

Bjos a todos...saudades,

Giuliano.

Parker Quartet...

Perdão pela demora meus amigos... Estou correndo que nem louco, tanto com publicidade quanto com o documentário!!! Espero a ajuda de vocês para florear o blog com posts de todos... Este é de música... Dos simpáticos, jovens e geniais Parker Quartet. Quem teve aula com eles deve se lembrar muito bem.... Bjos a todos... e POSTEM!!!!!

Hehe... Giuliano.

Mais algumas fotitas....

Nossos queridos bolsistas...

Oba!!! Vamos começar a editar o documentário!!!

Após um mês preparando o material, que tem mais de 100 horas gravadas, finalmente o editor vai poder editar o material do documentário. Sua primeira tarefa é gerar um Teaser para aprovação nas leis de incentivo. Estou muito ansioso para ver o resultado... Um abração a todos e obrigado pela oportunidade!!!!

Bjos,

Giuliano.

O dia em que os metais derrubaram a igreja...

Ou pelo menos uma senhora que esta sentada lá no fundo. Pode parecer mentira, mas muitos foram testemunhas do fato. O som foi tão forte que uma senhora caiu pra tras...A igreja ficou pequena pra tanto som...A apresentação dos bolsistas foi brilhante e, até onde eu sei, a senhora passa bem...bjos e boa semana...

Trash Movie Poster....

Para os Fãs de filmes de horror de quinta categoria, ai vai a continuação deslavada do nosso projeto de filme trash. O filme, em finalização, promete desapontar até os menos exigentes e garante arrancar o sorriso da face do expectador!!!! São 5 minutos da mais pura baboseira, sem pé nem cabeça. Boa semana...Bjos,

Giuliano.

Na Sala São Paulo....

Depois de 3 semanas de preparo, os últimos instantes antes da apresentação.

Madrugas...

Essa vai pro povo que não gostava muito de dormir. Fogueira com direito a chorinho, MPB e até sertanejo... melhor deixar essa parte de fora...bjos

Só pra matar a vontade.... ensaio geral...

Me pediram muito então to mandando assim...Sem editar, sem equalizar o som...O ensaio geral. Só um pedacinho. Tipo tiragosto. Bjossss e boa semana....

Some asked me so i'm sending it just like it is... Not editing, no sound EQ... The last academic orchestra rehearsal. Just a small part. An apetizer. Great week to all....

Pombinhos...

Pode se dizer que do festival nasceram muitas amizades...

Warm up para o Filme Trash!!!

Ai vão as primeiras fotos das estrelas participantes do futuro lançamento "Manicómio Maldito"!!!!

Saudades...

Os professores.... parte 1 - Teachers part 1...

Um pouquinho dos queridos professores que participaram dessa comunidade e mudaram tanta coisa na visão dos bolsistas....

Obrigado pela generosidade....

A little souvernir of the teachers that participated in this comunity and changes many things in the students point of view...

Thanks for the generosity...

O blog é de todos....

Pessoal... Agradeço a participação e os emails que tenho recebido. Esse festival tem uma turma unida!!! Ainda tenho muito o que postar aqui, mas não queria postar sozinho... Senão parece que é o meu blog, quando na verdade a ideia dele é servir de ponto de encontro da comunidade que participou do festival. Por isso convido a todos que tiverem posts, fotos ou vídeos, para serem autores do blog. É só responder esse post com o email e eu mando um link autorizando o autor. Podemos ter até 100 autores nesse blog... Espero vcs por aqui...

A melhor foto...

Sei que é meio privada, não traduz a grandeza do festival nem nada do tipo. Fruto de uma brincadeira tonta do meu assistente, o Gutu, e da generosidade do Mr. Bishop. Na verdade é isso que a foto mostra. O quão legal é esse cara, o Mr. Bishop. Nem todos conheceram esse misto de papai noel com o "Feliz" da Branca de Neve. A turma do piano conheceu. Sem mais... A foto... Bjos a todos....

Primeiras fotos...

Vou postando algumas fotos... Depois posto mais... Tem várias... Quem quizer postar tb, é só me passar as fotos ou me pedir pra virar autor no blog... ai pode postar... Bjos,

Os últimos minutos da orquestra acadêmica de 2009....

Ainda uma orquestra. Antes de ir cada um pra sua vida, sua música, sua cidade, . Foram vinte e três dias esperando por este momento. E vai demorar um tempão pra esquecer...

Bjos a todos e boa semana...

Giulas.

Trashy movie making of first ED...

Só pra matar a saudade do nosso Zumbi amigo....

Bjos a todos...

Lucas no recital de piano...

Como prometi, meu primeiro post no blog do festival é a apresentação do Lucas no recital de piano. Foi muito especial. Eu já estava saindo pra apresentação da Cristina Ortiz. Infelizmente, eu já estava nessa crise de não conseguir fazer tudo ao mesmo tempo. O Recital começou atrazado e encavalou com a apresentação das 9:00h. Na saida o Lucas chega e me pergunta: "Você não vai assistir? Eu sou o próximo...." Fiquei com o coração apertado e corri de volta pro recital... O som tá ou pouco afetado, pois gravei de uma certa distãncia (da porta da sala 1), mas da pra ter uma ideia do talento do meu pequeno amigo de 14 anos...

Muito bom!!!!

Bjos a todos e bom fim de semana!!!

Giuliano Saade... ou simplesmente " Giulas"

Nova etapa...

O festival acabou. Fica um buraco causado pela falta de tanta música e tanta gente. Por este motivo, pretendo postar aqui alguns momentos tão especiais que passei em Campos do Jordão. Até agora, este era um blog privado de pesquisa. De agora em diante, é um ponto de encontro para todos aqueles que, como eu, preferia estar no festival a uma hora dessas...

Bjos a todos,

Giuliano Saade.

Layout camisetas para o festival

A equipe já tem um uniforme...camisetas com o silk...Eba!!!

ESQUELETO DE UMA ORQUESTRA

Estudo sobre as apresentações da orquestra academica 1: Saint-Saëns, Organ Symphony

The Symphony No. 3 in C minor, Op. 78, was completed by Camille Saint-Saëns in 1886 at what was probably the artistic zenith of his career. It is also popularly known as the "Organ Symphony", even though it is not a true symphony for organ, but simply an orchestral symphony where two sections out of four use the pipe organ. The French title of the work is more accurate: Symphonie No. 3 "avec orgue" (with organ).

Of composing the work Saint-Saëns said that he had "given everything to it I was able to give." The composer seemed to know it would be his last attempt at the symphonic form, and he wrote the work almost as a type of "history" of his own career: virtuoso piano passages, brilliant orchestral writing characteristic of the Romantic period, and the sound of a cathedral-sized pipe organ. The work was dedicated to Saint-Saëns's friend Franz Liszt, who died that year, on July 31, 1886.

This symphony was commissioned by the Royal Philharmonic Society in England, and the first performance was given in London on 19 May 1886, at St James' Hall, conducted by the composer. He also conducted the French premiere in January 1887.^[1]

Contents [hide] 1 Structure 2 Instrumentation and score 3 Modern interpretations 4 Performances and recordings 5 Footnotes 6 External links 6.1 Video clips 6.2 Audio clips

[edit]Structure

The symphony usually lasts for about 35 minutes, not longer than 40 minutes.

One of the most outstanding and original features of the piece is the ingenious use of keyboard instruments: piano scored for both two and four hands at various places and an organ. The symphony also makes innovative use of cyclic thematic material. Saint-Saëns adapted Liszt's theories of thematic development, so that the subjects evolve throughout the duration of the symphony.

Though it is frequently listed, even on record and CD covers, as a symphony for orchestra "and organ" the composer inscribed it as a symphony for orchestra "avec" ("with") organ, which is a more accurate way of describing it.

Although this symphony seems to follow the normal four-movement structure, and many recordings break it in this way, it was actually written in two movements; Saint-Saëns intended a novel two-movement symphony. The composer did note in his own analysis of the symphony, however, that while it was cast in two movements, "the traditional four movement structure is maintained".

[edit]Instrumentation and score

The symphony is scored for a rather large orchestra comprising 3 flutes (1 doubling piccolo), 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons,contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, cymbals, bass drum, strings (2 violin parts, violas, cellos, double basses), piano(two and four hands), and pipe organ.

1. Adagio — Allegro moderato — Poco adagio
2. Allegro moderato — Presto — Maestoso — Allegro

The first movement, after a slow introduction, leads to a theme of Mendelssohnian character, followed by a second subject of a gentler cast, with various secondary themes played in major, and soon after repeated in minor forms; chromatic patterns play an important role in both movements. This material is worked out in fairly classical sonata-allegro form, and gradually fades to a quieter mood, which becomes a slightly ominous series of plucked notes in cello and bass, ending on a G pitch, followed by a slow and soft sustained A flat note in the organ, resolving into the new key of D flat for the Poco Adagio section of the movement. This evolves as a beautiful dialogue between organ and strings, recalling the earlier main theme of the movement before the recapitulation. The movement ends in a quiet morendo. The second movement opens with an energetic strings melody, which gives way to a Presto version of the main theme, complete with extremely rapid scale passages in the piano.

The Maestoso is introduced by a full C major chord in the organ. Piano four-hands is heard at the beginning with the strings, now playing the C major evolution of the original theme. The theme is then repeated in powerful organ chords, interspersed with brass fanfares. (It also includes a remarkable parody of the Dies Irae.) This well-known last movement is of considerable variety, including polyphonic fugal writing and a brief pastoral interlude, replaced by a massive climax of the whole symphony characterised by a return to the introductory theme in the form of major scale variations. The lowest pedal notes of both the Poco Adagio and the Maestoso, played on the organ, are of almost inaudibly low frequency. When experienced live in a concert hall equipped with a large concert organ with 32-foot pedal stops (e.g. the Royal Albert Hall Organ) these notes are very dramatic and give a deeply impressive aural experience.

[edit]Modern interpretations

The main theme of the Maestoso was later adapted and used in the 1977 pop-song If I Had Words by Scott Fitzgerald and F. Ivonne Keely. The Maestosomovement has been used in the French exhibit at Epcot in Disney World. It also (beginning with the C chord, and ending just short of the final allegro) served as overture to Laserium's first all-classical show, Crystal Odyssey. The song and the symphony was used as the main theme in the 1995 family film Babeand can be heard in the 1989 black comedy, How to Get Ahead in Advertising.

[edit]Performances and recordings

The French premiere was on 9 January 1887, conducted by the composer, at concert of the Société des Concerts.^[1]

The United States premiere was given on 19 February 1887, conducted by Theodore Thomas, at the Metropolitan Opera House, New York.^[1]

The symphony continues to be a frequently performed and recorded part of the standard repertoire. However, many renditions tend to be lacking due to various reasons such as a too-Germanic interpretation of the work by some conductors, an excessively bravado rendition by the organist, less than ideal recording techniques, and so on, but the biggest detriment to the work is usually the expedient technique of the orchestra recording taking place in one venue at one time, and the organ in another at a different time, the two recordings then being spliced together in the studio – this tends to be very detrimental to the work. If the orchestra's hall does not have an organ, and there is no church of suitable size in the community willing to allow its sanctuary to be used, it is best to program another work. It is worth noting that the following well-regarded and very popular recordings of the work were all recorded in real time - the orchestra and organ were both recorded simultaneously in the same hall:

The Philadelphia Orchestra with Eugene Ormandy conducting. The performance with organist Virgil Fox received these reviews:

• This beautifully played performance outclasses all versions of this symphony. - Fanfare Magazine
• This is the most hair-raising sound of any recording of this work. - The New Records.

The justly famous 1957 recording by Paul Paray and the Detroit Symphony Orchestra with Marcel Dupré as organist is also highly regarded (Mercury Records), as is the 1959 recording with Charles Münch and the Boston Symphony Orchestra, with Berj Zamkochian at the organ (RCA).

Estudo sobre as apresentações da orquestra academica 2: Concerto em Sol Maior para piano RAVEL a

Piano Concerto (Ravel)

From Wikipedia, the free encyclopedia

(Redirected from Concerto in G (Ravel))

Maurice Ravel's Piano Concerto in G major was composed between 1929–1931. The work comprises three movements: Allegramente, Adagio assai, andPresto. After his well-received piano tour of America, Ravel wanted to debut this new work himself. However, health issues precluded this possibility with his preparatory practice of Franz Liszt's and Frédéric Chopin's etudes leading to fatigue. Instead, Marguerite Long — who was known for her performances of the works of Gabriel Fauré and Claude Debussy and had earlier asked Ravel for a new work, later debuted the concerto. Ravel dedicated the concerto's score to her.

The concerto was heavily influenced by jazz, which, at the time, was highly popular in Paris as well as the USA, where Ravel was travelling. Ravel was impressed by the music he encountered while travelling in the USA and hence the concerto is deeply infused with jazz idioms and harmonies.

The world premiere came on January 14, 1932 with Ravel conducting the Lamoureux Orchestra. The first North American performances were given simultaneously on the evening of April 22, 1932, by both the Boston Symphony Orchestra and the Philadelphia Orchestra at their home concert halls.

Contents [hide] 1 Instrumentation 2 Form 3 Quotes 4 References 5 External links

[edit]Instrumentation

The orchestra for this concerto is made up of the following instruments: piccolo, flute, oboe, cor anglais, E-flat clarinet, Soprano clarinet in B-flat and A, 2bassoons, 2 horns in F, trumpet in C, trombone, timpani, triangle, snare drum, cymbals, bass drum, tamtam, wood block, whip, harp, piano, 16 violins, 6violas, 6 cellos, 4 double basses.

[edit]Form

Please help improve this article or section by expanding it. Further information might be found on the talk page. (November 2008)

This article may contain original research or unverified claims. Please improve the article by addingreferences. See the talk page for details. (November 2008)

This piece exhibits a standard three-movement concerto structure, with fast first and last movements and a slow middle movement. In terms of overall form, this piece can be termed neo-classical.

The first movement, opening with a whiplash and hustling on , is in sonata-allegro form; however, the traditional key structure of the form has been modified in this case.

The sublime second movement, with its slow opening unaccompanied piano solo reminiscent of a Chopinesque nocturne, is in ternary form with a varied reprise. In this movement from the middle onwards, the cor anglais has an extended solo against a flowing piano accompaniment.

The brilliant final movement follows the same form as the first — a sonata with a modified key structure.

[edit]Quotes

This article contains too many quotations for an encyclopedic entry. Please help improve the article by removing excessive quotations or transferring them to Wikiquote. Help is available. (April 2008)

“	The G-major Concerto took two years of work, you know. The opening theme came to me on a train between Oxford and London. But the initial idea is nothing. The work of chiseling then began. We’ve gone past the days when the composer was thought of as being struck by inspiration, feverishly scribbling down his thoughts on a scrap of paper. Writing music is seventy-five percent an intellectual activity.	”
—Maurice Ravel[1]

“	I would quote as one of the best examples of a subtle incorporation of these facets [of jazz] within a composer's style that of the Piano Concerto in G by the fastidious craftsman Maurice Ravel.	”
—Don Banks[2]

“	The most captivating part of jazz is its rich and diverting rhythm. ...Jazz is a very rich and vital source of inspiration for modern composers and I am astonished that so few Americans are influenced by it.	”
—Maurice Ravel[3]

“	Personally I find jazz most interesting: the rhythms, the way the melodies are handled, the melodies themselves. I have heard of George Gershwin's works and I find them intriguing.	”
—Maurice Ravel[4]

[edit]References

1. ^ New York Philharmonic. “Muti, Uchida, Ravel and Schubert.” The New York Philharmonic,http://nyphil.org/programNotes/Ravel%20Piano%20Concerto%20in%20G%20major.pdf.
2. ^ Banks, Don. Converging Streams. The Musical Times, Vol. 111, No. 1528. (June, 1970), pp. 596-599.
3. ^ Rogers, M. Robert. Jazz Influence on French Music. The Musical Quarterly, Vol. 21, No. 1. (Jan., 1935), pp. 53-68.
4. ^ Mawer, Deborah and Jonathan Cross. The Cambridge Companion to Ravel. Cambridge University Press, 2000. pp. 42