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Wednesday, April 26, 2017

Luigi Boccherini: Military Night Watch in Madrid, & Cello Concerto in G major – Gothenburg Symphony Orchestra, Truls Mørk (HD 1080p)














Truls Mørk, the world-famous cellist from Norwegian seafaring town Bergen, and Gothenburg Symphony Orchestra interpret the Luigi Boccherini's Military Night Watch in Madrid, and Cello Concerto in G major, G. 480. Recorded at Gothenburg Concert Hall on February 27, 2017.



Luigi Boccherini (1743-1805)

♪ Military Night Watch in Madrid (1780)


♪ Cello Concerto in G major, G. 480 (1770)

i. Allegro
ii. Adagio
iii. Allegro


Truls Mørk, cello

Gothenburg Symphony Orchestra
Conductor: Truls Mørk

Gothenburg Concert Hall, February 27, 2017

(HD 1080p)















Luigi Boccherini's Concerto in G major for cello and orchestra, G. 480, although omitted from the composer's own catalog, was published in Paris in 1770 and was most likely written not long before that. The composer was living in Spain at the time, working as a chamber composer for the Infante Don Luis. Because of his financial stability and popularity as a composer, this was a very happy time in Boccherini's life, and this concerto is written in an uncomplicated, carefree manner. It is believed that Boccherini, who was the virtuoso cellist of his day, performed this concerto himself along with five other original concerti for audiences in Paris. The piece is considered to be pre-Classical, although it was written during a time in which composers such as Haydn and C.P.E. Bach were beginning to write in the Classical style.

The Concerto in G major exists in three movements and the orchestral instrumentation is for strings only, without woodwinds, which is typical of many pre-Classical works. The first movement, marked Allegro, is written in a duple meter. It is light and elegant with a florid melody that is elaborated upon and expanded to a high artistic level for the cello. The upper register of the cello is used most of the time while the violins harmonize (using the same rhythms) with the melody, usually in thirds with the cello. These characteristics provide a simple overall texture. There is a solo cadenza at the end of the movement, providing the solo cellist with the opportunity to display his/her own original artistry and musicianship.

The second movement, Adagio, is actually better known today as the second movement of Boccherini's most popular cello concerto, the Concerto in B flat major. This is thanks to Friedrich Grützmacher, a well-known cellist who in the late 1800s pieced together what is known as Concerto in B flat major by using the slow movement from this concerto, along with movements from two other works. It is easy to see why Grützmacher chose the Adagio of the Concerto in G major. The expressive and colorful melody allows the cello to sing out with a beautiful, full sound, which is always a treat for cellists.

The finale is an Allegro that dances along in a triple meter. As is characteristic of Boccherini's style, the music is energetic and virtuosic but always retains an elegance that is both formal and courtly in nature. The melodies alternate between lyricism and playfulness. The strongly established key of G major wanders into minor for a spell before returning to a major quasi-recapitulation and short cadenza to close out the piece. Boccherini's extraordinary level of accomplishment as a cellist is reflected in the sheer technical difficulty of the solo part. Fortunately, the high technical demand never occurs at the expense of the musical qualities of the piece. Boccherini's expressive melodies and lyrical passages combine with graceful orchestration and artistic solo passages, making the piece pleasurable to both listener and performer.

Source: Emily Stoops (allmusic.com)















Norwegian cellist Truls Mørk is particularly noted for his romantic, emotional approach. His parents were professional musicians; his father was a cellist, and his mother a pianist. His parents taught him first, trying him on the piano and violin before John Mørk decided to teach Truls his own instrument, the cello. Truls liked the instrument because of its larger size, and insisted on starting his studies with the Bach Cello Suite No. 1 and the Brahms E minor Cello Sonata. "This turned out to be much more difficult than I thought it would be", he says, but he kept working at it. He says his father did not push him for fear that he would practice too much and become a musician.

At the age of 17, Mørk began studying with Frans Helmerson. Later he studied with Austrian cellist Heinrich Schiff, then in Moscow with Natalia Shakhovskaya, a pupil of Mstislav Rostropovich, whom Mørk had admired for his broad range of color and his flexible, melodic use of vibrato. Mørk dislikes the German style of even vibrato, which, he says, drains the music of its vitality.

In 1982 at the age of 21, Mørk became the first Scandinavian to win the International Moscow Tchaikovsky Competition. He also won the Naumberg Competition in New York in 1986, the Cassado Cello Competition in Florence in 1983, and the UNESCO Prize at the European Radio-Union Competition in Bratislava.

His international touring career commenced in 1989 when he was selected to travel with the Oslo Philharmonic Orchestra under Mariss Jansons on their 1994 North American tour. Since then he has appeared with many of the world's best-known orchestras and conductors, in both evergreen concertos and in new works by composers such as Pavel Haas, Krzysztof Penderecki, Hafliði Hallgrímsson, and Einojuhani Rautavaara.

Mørk is also an active chamber musician and appears frequently in festivals throughout the world. He was the founder of the International Chamber Music Festival in Stavanger, which he directed for its first 13 years.

Mørk plays a rare 1723 Domenico Montagnana cello purchased for him by the SR Bank.

Source: Joseph Stevenson (allmusic.com)







































More photos


See also

Giovanni Sollima: Violoncelles, vibrez! | Heitor Villa-Lobos: Preludio from Bachianas Brasileiras No.1 | Astor Piazzolla: Libertango – Truls Mørk, Jun Sasaki, Cellos from Gothenburg Symphony Orchestra (HD 1080p)

Pyotr Ilyich Tchaikovsky: Souvenir de Florence – Gothenburg Symphony Orchestra, Truls Mørk (HD 1080p)

Edward Elgar: Cello Concerto in E minor – Truls Mørk, Bergen Philharmonic Orchestra, Edward Gardner (HD 1080p)

Dmitri Shostakovich: Cello Concerto No.2 – Truls Mørk, Gothenburg Symphony Orchestra, Francois Xavier Roth


Gothenburg Symphony Orchestra – All the posts

Εγχώρια και ευρωπαϊκά κατεστημένα, ως μια υπερπαράταξη, στηρίζουν Macron















Γιατί στηρίζουν τον Macron; Για τον απλό λόγο: θέλουν να καταστήσουν τη Γαλλία εργασιακό κάτεργο και να επιφέρουν το τελειωτικό χτύπημα σε όποια εργασιακή και δημοκρατική οχύρωση έχει απομείνει στη Γαλλία και επομένως να υπάρξει η τέλεια ισοπέδωση και εκμετάλλευση στον ευρωπαϊκό Νότο και από εκεί σε όλη την ήπειρο.

Για να δυναμώσουν στο έπακρο τη γερμανογαλλική σιδερένια συμμαχία, με το Βερολίνο απόλυτο επικυρίαρχο, ώστε, στο όνομα του «ευρωπαϊκού ιδεώδους», η γερμανική μπότα του Δ' Ράιχ να συνθλίψει τα πάντα στην Ευρώπη: εθνικές κυριαρχίες, Συντάγματα και αντιπροσωπευτικά σώματα, επιβάλλοντας παντού έναν νέο «αυτοκρατορικό» ολοκληρωτισμό του χρήματος με «δημοκρατικό» προσωπείο.


Από Ν. Ζ., 25/04/2017

Τέτοια συσπείρωση «ποικίλων» και «διαφορετικών», κατ' όνομα, πολιτικών και οικονομικών δυνάμεων στη χώρα μας, στην Ευρώπη και στον κόσμο και στοίχισή τους πίσω από την υποψηφιότητα ενός πολιτικού, όπως του Emmanuel Macron, ίσως να μην έχει ξαναεμφανιστεί στην σύγχρονη πολιτική ιστορία.

Όλες από κοινού οι μνημονιακές και νεομνημονιακές δυνάμεις στη χώρα μας, όλες οι δυνάμεις, οι υπεύθυνες και συνυπεύθυνες της μεγαλύτερης καταστροφής που έχει υποστεί χώρα σε ειρηνική περίοδο και οι οποίες συνεχίζουν αμείωτα το άθλιο καταστρεπτικό τους έργο, όλες, λοιπόν, από κοινού αυτές οι ένοχες πολιτικές δυνάμεις έσπευσαν από την πρώτη στιγμή, χωρίς κανέναν δισταγμό, χωρίς καμιά δεύτερη σκέψη, ως έτοιμες από καιρό, να δηλώσουν ταπεινά και χωρίς όρους και προϋποθέσεις, την υποστήριξή τους στον υποψήφιο των τραπεζών και εκπρόσωπο της Rothschild, τον Emmanuel Macron. Τον Emmanuel Macron υποψήφιο της «μεταπολιτικής» και ενός νέου «πολιτικού κέντρου» που υπερβαίνει πολιτικούς διαχωρισμούς και σύνορα για να ταυτιστεί με την ακραιφνή Ευρώπη του χρηματιστικού και πολυεθνικού κεφαλαίου, την καθαρή ιμπεριαλιστική Ευρώπη μιας άτεγκτης, με σαρδόνιο χαμόγελο, αποικιοκρατίας και τον σκληρό πυρήνα μιας «παγκοσμιοποίησης» των πιο αδίστακτων αγορών.

Ο Κυρ. Μητσοτάκης τάχθηκε με τον Macron και τόνισε ότι αυτός είναι ο γνήσιος εκφραστής των ανύπαρκτων κενόλογων «ιδεών» του τελευταίου στην χώρα μας. Η Φώφη Γεννηματά έτρεξε άρον-άρον να στοιχηθεί με τον Macron, διεκδικώντας κι αυτή τη σημαία του. Για τον Στ. Θεοδωράκη δεν το συζητάμε, «κύλησε ο τέντζερης και βρήκε το καπάκι», Macron και ξερό ψωμί και δικαιολογημένα. Ακόμα και ο Βασ. Λεβέντης βγήκε υποστηρικτής του Macron, για να μη μιλήσουμε για όλα τα αναρίθμητα συστημικά μέσα, τηλεοράσεις, ραδιόφωνα, εφημερίδες, ιστοσελίδες, παπαγαλάκια κάθε λογής που λύσσαξαν να εκθειάζουν σε όλους τους τόνους τον Macron και ιδιαιτέρως τη γυναίκα του.

Η πιο κωμικοτραγική, όμως, περίπτωση καιροσκοπισμού είναι αυτή του νεομνημονιακού ΣΥΡΙΖΑ και του Τσίπρα.

Ο Τσίπρας και μαζί του όλος ο νεομνημονιακός κυβερνο-κομματικός εσμός, αφού την ανάγκην φιλοτιμίαν εποίησαν και μέσω του κατ' όνομα Κομμουνιστικού Κόμματος και ουραγού πάντοτε, έγλειψαν εκεί που τους έφτυναν, δηλώνοντας στήριξη στον Mélenchon, τώρα, μπροστά στον β' γύρο των προεδρικών εκλογών της Γαλλίας, επέστρεψαν τρέχοντας και απολογούμενοι στην ιδεολογικοπολιτική τους κοίτη: δήλωσαν πλήρη υποταγή στον Γάλλο, στη νιοστή «Σημιτο-Στουρνάρα», Emmanuel Macron.

Ο εγχώριος κύκλος έκλεισε ενδόξως, για να πάρουν τη σκυτάλη τα πιο εξωνημένα ευρωπαϊκά κατεστημένα κέντρα.

Ως μια φωνή και μια γροθιά όλο το απαίσιο ευρωκεντρικό μπλοκ, από την Merkel και τον Schäuble, τον Gabriel και τον Schultz, τον Dijsselbloem, τον Moscovici και τον Juncker, έως όλους τους πρωθυπουργούς των ευρωενωσιακών χωρών και τους αναρίθμητους αξιωματούχους παρατρεχάμενους της γραφειοκρατίας των Βρυξελλών, έσπευσαν να δηλώσουν πίστη στον Macron.

Το πρόσχημα όλων αυτών, εγχώριων και Ευρωπαίων, για την ευθυγράμμιση πίσω από τον κύριο «ούτε αριστερά, ούτε δεξιά», ούτε και τίποτα, E. Macron είναι να σώσουν τη δημοκρατία στην Ευρώπη!

Για ποια δημοκρατία, όμως, μας μιλάνε οι υποκριτές;

Τον ολοκληρωτισμό των Βρυξελλών στην ήπειρο, τη δικτατορία των αγορών, τη δικτατορία του ευρώ και των τραπεζιτών δεν τη βλέπουν;

Την κατοχή, τη νέα επταετία που έχουν επιβάλει στην Ελλάδα, με τη μνημονιακή χούντα του κουαρτέτου δεν τη βλέπουν; Δεν είναι δικό τους τερατούργημα;

Την κοινωνική διάλυση και φτωχοποίηση σε όλην την ήπειρο με τη χώρα μας το χειρότερο κλωτσοσκούφι ούτε αυτό το βλέπουν;

Από πότε η πιο ανελέητη αποικιοκρατία και οι πιο βάρβαρες πολεμικές εκστρατείες, που έχουν μετατρέψει σε ερείπια Βαλκάνια, Μέση Ανατολή και Βόρεια Αφρική, ονομάζεται υπεράσπιση της δημοκρατίας;

Γιατί στηρίζουν τον Macron; Για τον απλό λόγο: θέλουν να καταστήσουν την Γαλλία εργασιακό κάτεργο και να επιφέρουν το τελειωτικό χτύπημα σε όποια εργασιακή και δημοκρατική οχύρωση έχει απομείνει στη Γαλλία και επομένως να υπάρξει η τέλεια ισοπέδωση και εκμετάλλευση στον ευρωπαϊκό Νότο και από εκεί σε όλη την ήπειρο.

Για να επιφέρουν το τελειωτικό χτύπημα στις πολύ μικρές και μικρές επιχειρήσεις, προς δόξαν των τραπεζών και των πολυεθνικών γιγάντων.

Για να δυναμώσουν στο έπακρο την γερμανογαλλική σιδερένια συμμαχία, με το Βερολίνο απόλυτο επικυρίαρχο, ώστε, στο όνομα του «ευρωπαϊκού ιδεώδους», η γερμανική μπότα του Δ' Ράιχ να συνθλίψει τα πάντα στην Ευρώπη: εθνικές κυριαρχίες, Συντάγματα και αντιπροσωπευτικά σώματα, επιβάλλοντας παντού έναν νέο «αυτοκρατορικό» ολοκληρωτισμό του χρήματος με «δημοκρατικό» προσωπείο.

Αυτό είναι το πρόγραμμα του Macron, που στηρίζουν με τόσο πάθος, έξαλλοι από ενθουσιασμό, οι εγχώριοι μνημονιακοί, οι Ευρωπαίοι γραφειοκράτες και η ευρωπαϊκή πολυεθνική και χρηματιστική ολιγαρχία.

Αυτό δυστυχώς είναι το πρόγραμμα του Μητσοτάκη, το πρόγραμμα του Τσίπρα, το πρόγραμμα της Γεννηματά, του Θεοδωράκη και του Λεβέντη.

Είναι το κοινό πρόγραμμα της εκποιημένης εθελόδουλης ολιγαρχικής διαπλεκόμενης εξαρτημένης Ελλάδας, που το καλύπτουν ηγέτες και ηγετίσκοι πίσω από φτηνές αντιπαραθέσεις, που κρύβουν στα μάτια των αφελών την κακόηχη μνημονιακή υπερσυμφωνία.

Όλοι αυτοί μας καλούν στο όνομα της απόκρουσης της Le Pen και της «υπεράσπισης της δημοκρατίας», να κλείσουμε τα μάτια και τη μύτη μας, να σταματήσουμε τη σκέψη μας και να κλειδώσουμε τη λογική μας, για να φωνάξουμε με ενθουσιασμό μαζί τους: ζήτω ο Macron, ζήτω ο ολοκληρωτισμός των αγορών, ζήτω η υποταγή στον γερμανογαλλικό άξονα, ζήτω η δικτατορία του ευρώ και ζήτω ο εκφασισμός της μιας και μοναδικής σκέψης και πολιτικής.

Ευχαριστούμε, δεν θα πάρουμε!

Πηγή: iskra.gr

Tuesday, April 25, 2017

Giovanni Sollima: Violoncelles, vibrez! | Heitor Villa-Lobos: Preludio from Bachianas Brasileiras No.1 | Astor Piazzolla: Libertango – Truls Mørk, Jun Sasaki, Cellos from Gothenburg Symphony Orchestra (HD 1080p)














Truls Mørk, the world-famous cellist from Norwegian seafaring town Bergen, and Gothenburg Symphony Cello section gives a programme that could be a showcase for the cello as a beautiful, versatile and absolutely wonderful instrument. Recorded at Gothenburg Concert Hall on February 27, 2017.



Giovanni Sollima (b. 1962)

♪ Violoncelles, vibrez! (1993)


Heitor Villa-Lobos (1887-1959)

♪ Bachianas Brasileiras No.1, for 8 cellos, A. 246 (1930)

ii. Preludio (Modinha)


Astor Piazzolla (1921-1992)

♪ Libertango (1974)


Truls Mørk, cello
Jun Sasaki, cello

Cellos from Gothenburg Symphony Orchestra
Conductor: Truls Mørk

Gothenburg Concert Hall, February 27, 2017

(HD 1080p)















Norwegian cellist Truls Mørk is particularly noted for his romantic, emotional approach. His parents were professional musicians; his father was a cellist, and his mother a pianist. His parents taught him first, trying him on the piano and violin before John Mørk decided to teach Truls his own instrument, the cello. Truls liked the instrument because of its larger size, and insisted on starting his studies with the Bach Cello Suite No. 1 and the Brahms E minor Cello Sonata. "This turned out to be much more difficult than I thought it would be", he says, but he kept working at it. He says his father did not push him for fear that he would practice too much and become a musician.

At the age of 17, Mørk began studying with Frans Helmerson. Later he studied with Austrian cellist Heinrich Schiff, then in Moscow with Natalia Shakhovskaya, a pupil of Mstislav Rostropovich, whom Mørk had admired for his broad range of color and his flexible, melodic use of vibrato. Mørk dislikes the German style of even vibrato, which, he says, drains the music of its vitality.

In 1982 at the age of 21, Mørk became the first Scandinavian to win the International Moscow Tchaikovsky Competition. He also won the Naumberg Competition in New York in 1986, the Cassado Cello Competition in Florence in 1983, and the UNESCO Prize at the European Radio-Union Competition in Bratislava.

His international touring career commenced in 1989 when he was selected to travel with the Oslo Philharmonic Orchestra under Mariss Jansons on their 1994 North American tour. Since then he has appeared with many of the world's best-known orchestras and conductors, in both evergreen concertos and in new works by composers such as Pavel Haas, Krzysztof Penderecki, Hafliði Hallgrímsson, and Einojuhani Rautavaara.

Mørk is also an active chamber musician and appears frequently in festivals throughout the world. He was the founder of the International Chamber Music Festival in Stavanger, which he directed for its first 13 years.

Mørk plays a rare 1723 Domenico Montagnana cello purchased for him by the SR Bank.

Source: Joseph Stevenson (allmusic.com)















Jun Sasaki was born in 1989 in London, and studied at Junior Guildhall, and the Yehudi Menuhin School before completing his bachelors with Thomas Carroll at the Royal College of Music, where he was a Fleming Scholar. As well as featuring on radio and television on BBC and ITV in the UK, Jun has performed extensively as both soloist and chamber musician, giving numerous recitals and concerto performances across Europe and the United Kingdom, in venues such as the Wigmore Hall, Queen Elizabeth Hall, Chateau de Sallenoves, Casa da Música , Cadogan Hall, and Clarence House – the official residence of the Prince of Wales.

A recipient of multiple scholarships and winner of various competitions, Jun won the prestigious string prize at the Royal Overseas League competition in 2010. Jun is currently a masters student at the Norwegian Academy of Music in Oslo, studying with Truls Mørk.



















































More photos


See also

Luigi Boccherini: Military Night Watch in Madrid, & Cello Concerto in G major – Gothenburg Symphony Orchestra, Truls Mørk (HD 1080p)

Pyotr Ilyich Tchaikovsky: Souvenir de Florence – Gothenburg Symphony Orchestra, Truls Mørk (HD 1080p)

Edward Elgar: Cello Concerto in E minor – Truls Mørk, Bergen Philharmonic Orchestra, Edward Gardner (HD 1080p)

Dmitri Shostakovich: Cello Concerto No.2 – Truls Mørk, Gothenburg Symphony Orchestra, Francois Xavier Roth


Gothenburg Symphony Orchestra – All the posts

Marine Le Pen remercie la patriosphère



24 avril 2017

Mes chers amis,

J’ai voulu faire cette vidéo, pour vous remercier, vous militants internautes qui êtes mobilisés depuis le début de cette campagne sur les réseaux sociaux, vingt-quatre heures sur vingt-quatre, sept jours sur sept. Vous êtes les relais formidables de mon projet et de mes actions. Vous participez activement à la campagne, avec créativité, avec énergie, avec humour. Vous résistez avec intelligence à la propagande et aux mensonges diffusés par les médias du système.

Vous faites partie des artisans de cette première victoire, celle qui me permet d’accéder au second tour de l’élection, et qui nous installe, maintenant, sur la route de la victoire!

C’est vous qui me donnez l’énergie dont j’ai besoin. Votre enthousiasme et votre ferveur sont incomparables. Aucun de mes adversaires n’a avec lui des militants aussi efficaces!

Cela montre, je le crois, la force du patriotisme, la force des engagements sincères, mais aussi la force de mon projet. Il suscite l’adhésion et l’espérance. Partout, chaque jour, sur internet et sur le terrain, de nouveaux patriotes nous rejoignent et s’engagent à nos côtés.

Il reste encore quelques jours de mobilisation intense. Comme avant le premier tour, mais peut-être plus encore maintenant, le système va déchaîner toutes ses forces contre les patriotes. Les caricatures, les arrangements avec la vérité, les manoeuvres, rien ne nous sera épargné. C’est donc sur vous que je compte encore une fois, dans cette dernière ligne droite, pour rétablir la vérité chaque fois que ce sera nécessaire, pour convaincre, et pour montrer à tous nos compatriotes que mon projet les protéger. Vous êtes les meilleurs messagers, responsables, intelligents et solidaires pour expliquer que mon élection à la tête de l’État sera la meilleure nouvelle pour les Français depuis longtemps.

Je suis la candidate du peuple. Et je le sens avec une évidence encore plus grande lorsque je vois toutes vos actions. Si je me bats dans cette élection, c’est pour vous, c’est avec vous, c’est grâce à vous!

Marine Le Pen



Η Μαρίν Λε Πεν ευχαριστεί τους ακτιβιστές του διαδικτύου για την ενεργή συμμετοχή τους στον προεκλογικό αγώνα της, επαινώντας τους για τον ενθουσιασμό, τη δημιουργικότητα, την ενέργεια και το χιούμορ τους, και τους προτρέπει να αντισταθούν με έξυπνο τρόπο στα ψέματα και την προπαγάνδα που θα εξαπολύσει το «σύστημα» εναντίον της από τα μέσα «ενημέρωσης». «Είστε από τους πρωτεργάτες της πρώτης νίκης μας», λέει, «η οποία μου επιτρέπει να συμμετέχω στον δεύτερο γύρο των Γαλλικών Προεδρικών Εκλογών, στην τελική ευθεία πλέον για τη μεγάλη νίκη!»















Voir aussi

Marine Le Pen: Car le grand enjeu de cette élection est la mondialisation sauvage, qui met en danger notre civilisation

Marine Le Pen: Mon dernier message...


Marine Le Pen: Le 23 avril, ne vous trompez pas!


Monday, April 24, 2017

Peter Schmidt plays Johann Sebastian Bach

Photo by Jordi Farrús
















German-American cellist Peter Schmidt, born in Saarbrücken in 1983, is invited to play as soloist and chamber musician throughout Europe, the United States, Colombia and Mexico. He is a regular guest at international festivals such as Podium Festival Esslingen, the Festival Mas y Mas in Barcelona, Músics en Residència Alella, Encuentro de Musica de Camara UNICACH and Paaxfest in Mexico. In 2013 he recorded a CD with the works for cello and piano by Pablo Casals with pianist Katia Michel for the label Klassic Cat. He is artistic director of the chamber music festival Pòdium Internacional Matadepera, which took place for the first time in 2014. Peter performs as soloist with orchestras such as the Neue Philharmonie Westfalen, the Budweis Philharmonic Orchestra, the Konstanz University Orchestra, the Munich International Orchestra and the A-Orchester der Bundeswehr.

At the age of five he began his musical studies, first with piano lessons and three years later with cello lessons. At the age of 16 he was accepted into the class of Markus Wagner in the Musikhochschule Nürnberg-Augsburg. In 2007 he finished his studies at the Musikhochschule Munich with Wen-Sinn Yang and in 2010 received a chamber music degree with special honors from the Musikhochschule Detmold, where he studied with members of the Auryn Quartet. In 2012 he was awarded a prestigious Konzertexamen degree with special honors from the Robert-Schumann-Hochschule in Düsseldorf, where he studied with Gregor Horsch, principal cellist of the Concertgebouw Orchestra Amsterdam. He has taken part in master classes with Claude Starck, Wolfgang Boettcher, Gustav Rivinius, Jens-Peter Maintz, Frans Helmersson, Eberhard Feltz, Menahem Pressler, Andras Schiff, Arnold Steinhardt and Ana Chumachenco among others.

Peter Schmidt combines his activities as a performer with those as a teacher. He was assistant teacher at the Master Classes for Chamber Music, Violin, Viola and Cello in Groznjan, Croatia in 2009. Since 2010 he has been invited on several occasions by the Universidad de Ciencias y Artes de Chiapas, Mexico to give master classes and concerts; in 2012 he conducted a master class for cello and chamber music at the Conservatori del Liceu in Barcelona, in 2013 he gave classes at the Robert-Schumann-Hochschule Düsseldorf, substituting for his former teacher Gregor Horsch and in 2014 he was invited to give master classes at the Universidad Nacional de Colombia in Bogotá.

Source: peterschmidtcello.de















Peter Schmidt plays Johann Sebastian Bach


Johann Sebastian Bach: Cello Suite No.1 in G major, BWV 1007 – Peter Schmidt

Johann Sebastian Bach: Cello Suite No.2 in D minor, BWV 1008 – Peter Schmidt

Johann Sebastian Bach: Cello Suite No.3 in C major, BWV 1009 – Peter Schmidt

Johann Sebastian Bach: Cello Suite No.4 in E flat major, BWV 1010 – Peter Schmidt

Johann Sebastian Bach: Chaconne from Partita for Solo Violin No.2, BWV 1004, arr. fof cello – Peter Schmidt















More photos


See also


Johann Sebastian Bach: 6 Suites for Cello Solo, BWV 1007-1012 – István Várdai (Audio video)

Marine Le Pen: Car le grand enjeu de cette élection est la mondialisation sauvage, qui met en danger notre civilisation
















23 avril 2017

Mes chers compatriotes,
Vous m’avez portée au second tour de l’élection présidentielle.

J’en mesure l’honneur, avec humilité et reconnaissance.
Je voudrais vous exprimer, à vous, électeurs patriotes français, ma plus profonde gratitude.

La première étape qui doit conduire les Français à l’Elysée est franchie.

Ce résultat est historique.
Il fait reposer sur moi désormais la responsabilité immense de la défense de la nation française, de son unité, de sa sécurité, de sa culture, de sa prospérité et de son indépendance.

Il s’interprète également comme un acte de fierté française, celui d’un peuple qui relève la tête; celui d’un peuple sûr de ses valeurs et confiant en l’avenir.

Il n’a échappé à aucun Français, que le système a cherché par tous les moyens, même les plus contestables, à étouffer le grand débat politique qu’aurait dû être cette élection.

Ce grand débat va maintenant, enfin, avoir lieu. Les Français doivent saisir cette opportunité historique qui s’ouvre.

Car le grand enjeu de cette élection est la mondialisation sauvage, qui met en danger notre civilisation.

Les Français ont un choix très simple:
Soit nous continuons sur la voie d’une dérégulation totale, sans frontières, et sans protection, avec comme conséquences: les délocalisations, la concurrence internationale déloyale, l’immigration de masse, la libre circulation des terroristes.

Ce règne, c’est celui de l’argent roi.
Soit vous choisissez la France, des frontières qui protègent nos emplois, notre pouvoir d’achat, notre sécurité, notre identité nationale.

Vous avez donc le choix de l’alternance.
La vraie.
Pas celle qui a vu des gouvernements se succéder sans que rien change.

Celle que je vous propose, c’est la grande alternance, l’alternance fondamentale, qui mettra en place une autre politique, d’autres visages au pouvoir, et le renouvellement auquel vous aspirez.

Ce n’est évidemment pas avec l’héritier de François Hollande et de tous les échecs de ce quinquennat catastrophique, que cette alternance tant attendue viendra.

Il est temps désormais de libérer le peuple français, tout le peuple, sans oublier nos compatriotes d’Outre-Mer qui ont exprimé à mon égard une confiance qui m’honore, il est temps de libérer le peuple français d’élites arrogantes qui veulent lui dicter sa conduite.
Car oui je suis la candidate du peuple.
Je lance un appel à tous les patriotes sincères, d’où qu’ils viennent, quelles que soient leurs origines, quel qu’ait été leur parcours, et leur vote au premier tour, à me rejoindre.
Je les appelle à sortir des querelles périmées, des a priori et des ressentiments parce qu’il y va de l’intérêt supérieur du pays.

C’est l’essentiel, vraiment l’essentiel, qui est en jeu: la survie de la France.

Je les appelle à l’unité nationale derrière notre projet de redressement.
Nous les accueillerons fraternellement.

Le 8 août 1943, le général de Gaulle le rappelait à Casablanca : «la grandeur d’un peuple ne procède que de ce peuple».
C’est ce principe qui, durant les mille cinq cents ans de son histoire, a façonné la France que nous aimons.
C’est ce principe que je mettrai en œuvre.

Le rassemblement du peuple français auquel chacun aspire ne peut se faire qu’autour de l’amour de la France.
Vive le peuple français !
Vive la République !
Vive la France !

Marine Le Pen


Voir aussi

Marine Le Pen remercie la patriosphère

Marine Le Pen: Mon dernier message...

Marine Le Pen: Le 23 avril, ne vous trompez pas!


Sunday, April 23, 2017

Marine Le Pen: Mon dernier message...














21 avril 2017

Mes chers amis,

Cette fin de campagne de premier tour est sombre, elle souligne à quel point les enjeux sont immenses.

Je veux rendre hommage à nos forces de l’ordre, à nos courageux policiers et en particulier à Xavier Jugelé, lâchement assassiné dans la force de l’âge hier soir par un terroriste. Qu’il repose en paix, après avoir servi la Nation jusqu’au sacrifice ultime, et que sa famille, ses proches, soient assurés de notre immense solidarité.

Ce drame épouvantable nous rappelle combien la situation est grave, à quel point le cauchemar continue.

J’ai souvent rappelé les mesures que je propose pour lutter contre le terrorisme et l’islamisme. J’en ai beaucoup parlé, seule et dans le désintérêt général de mes concurrents, dans chacune de mes réunions publiques, parce que je considère que c’est un sujet crucial pour l’avenir de notre pays, de nos enfants. La menace est réelle, constante, les politiques, de droite comme de gauche, sous les deux derniers quinquennats, n’ont rien fait. Cela doit changer. Il est temps d’agir. Nous devons prendre conscience de l’importance des enjeux et décider les mesures qui s’imposent. Je le ferai, sans faiblir, en accord avec vous.

Dimanche, je vous appelle solennellement à aller voter et à faire voter tous ceux que vous connaissez. C’est important. Le vote est bien plus qu’un droit pour les citoyens, c’est un devoir. Et, dans la situation où se trouve notre pays, c’est un devoir vital. Chaque bulletin de vote a un poids immense. Chacun doit sentir la mission dont il est investi et l’importance du choix que notre peuple est amené à faire. Aucune voix patriote ne doit manquer à la seule candidature utile pour la France. Plus que jamais, les Français doivent s’unir pour défendre et protéger leur pays, leur modèle social, leur identité.

Courage, restez unis, fiers, courageux, je compte sur vous comme vous pourrez compter sur moi, et bon vote!

Marine Le Pen


Voir aussi

Marine Le Pen remercie la patriosphère

Marine Le Pen: Car le grand enjeu de cette élection est la mondialisation sauvage, qui met en danger notre civilisation

Marine Le Pen: Le 23 avril, ne vous trompez pas!

Antonín Dvořák: Symphony No.9 in E minor "From the New World" – New York Philharmonic, Alan Gilbert (HD 1080p)














Wednesday, September 21, 2016, launched the New York Philharmonic's 175th anniversary season, Music Director Alan Gilbert's farewell season, and "The New World Initiative" – the Philharmonic's season-long, city-wide project revolving around Dvořák's "New World" Symphony and its theme of "home".



Antonín Dvořák (1841-1904)

♪ Symphony No.9 in E minor, Op.95 "From the New World" (1893)


i. Adagio – Allegro molto

ii. Largo
iii. Scherzo. Molto vivace
iv. Allegro con fuoco

New York Philharmonic
Conductor: Alan Gilbert

New York, David Geffen Hall, September 21, 2016

(HD 1080p)















In 1892, when Antonín Dvořák agreed to direct the National Conservatory in New York, he understood that his position involved more than running a music school. He wrote to a Czech friend, "The Americans expect great things of me. I am to show them the way into the Promised Land, the realm of a new, independent art, in short a national style of music!... This will certainly be a great and lofty task, and I hope that with God’s help I shall succeed in it. I have plenty of encouragement to do so".

Dvořák recognized two main sources that could provide the indigenous flavor for an "American" school of composition: Native American and African-American traditions. His understanding of Indian culture was indirect, gleaned from his reading of Longfellow's epic poem The Song of Hiawatha (1855) and from "Native" melodies that appeared in heavily edited songbooks published by Eurocentric scholars. Dvořák did have the benefit of more direct contact with African-American music through a student at the conservatory, Harry Burleigh, a singer and composer who had learned spirituals from his grandfather, a freed slave. Burleigh sang the spirituals to Dvořák, who saw in those melodies a particularly rich wellspring for American concert music.

Dvořák noted essential similarities between Indian and African-American musical traditions, qualities he recognized in Scottish tunes as well. The shared trait among these styles – and folk music from around the world, to a varying extent – was the use of the pentatonic mode, as opposed to the major and minor scales of European art music. (An easy way to hear the contrast is on a piano: the black keys form a pentatonic mode, while the white keys form a major scale.)

Dvořák let those folk influences filter through the symphony he composed in New York. The work debuted at Carnegie Hall on December 16, 1893, with the New York Philharmonic conducted by Anton Seidl. At the time, Dvořák numbered the symphony as his fifth, having disavowed several early works. It was actually his ninth and final symphony, and modern practice reflects that numbering. The subtitle, "From the New World", was Dvořák's own.

Despite the subtitle, the Symphony's first movement is as much from the "Old World" as from the New. The main theme, a leaping motive sounded by the horns at the start of the Allegro molto section, becomes a building block for adventurous exploration, appearing in this movement and later in the Symphony. This musical treatment owes more to Brahms (who mentored Dvořák) and Beethoven than American folk music. A contrasting major-key theme, first heard in the flute, introduces a more pastoral flavor.

The Largo second movement reflects the spirituals Dvořák learned from his African-American student, and it provides the English horn with its most endearing solo passage in the orchestral repertoire. Later, with the addition of lyrics by William Arms Fisher, this quasi-spiritual theme became the song "Goin' Home".

The third movement fulfills the traditional function of a symphonic scherzo, in the mold of Beethoven and Mendelssohn, while also tying the work together with quotations from the two preceding movements. According to Dvořák, a wedding scene from The Song of Hiawatha served as inspiration for this festive music.

The finale, like the opening movement, blends "Old World" themes and construction with glints of modal "New World" material, including sophisticated juxtapositions of the Symphony's earlier highlights. As the Czech composer duly acknowledged, "I should never have written the Symphony ‘just so’ if I hadn't seen Americ".

Source: Aaron Grad, 2016 (laphil.com)























































































More photos


See also

Antonín Dvořák: Symphony No.9 in E minor "From the New World" – Wiener Philharmoniker, Herbert von Karajan

Antonín Dvořák: Symphony No.8 in G major – Detroit Symphony Orchestra, Rafael Frühbeck de Burgos

Antonín Dvořák: Cello Concerto in B minor – Leonard Elschenbroich, Japan Philharmonic Orchestra, Ken-David Masur

Antonín Dvořák: Cello Concerto in B minor – Daniel Müller-Schott, Danmarks Radio SymfoniOrkestret, Dmitrij Kitajenko

Friday, April 21, 2017

Johann Sebastian Bach: Orchestral Transcriptions | Dmitri Shostakovich: Jazz Suite No.1 | Michel Camilo: Concerto for Jazz Trio & Orchestra – Detroit Symphony Orchestra, Leonard Slatkin – Saturday, April 22, 2017, 8:00 PM EDT (UTC-4) / Sunday, April 23, 2017, 03:00 AM EEST (UTC+3) – Live on Livestream

Michel Camilo
















Leonard Slatkin leads magnificent orchestral transcriptions by Johann Sebastian Bach, followed by two jazz inspired Detroit Symphony Orchestra firsts! Hear the orchestra's premiere performance of Dmitri Shostakovich's Jazz Suite No.1, and the debut of an all-new jazz trio concerto by Grammy Award winning composer and pianist Michel Camilo.

Saturday, April 22
Los Angeles: 05:00 PM
Detroit, New York, Toronto: 08:00 PM

Sunday, April 23
London: 01:00 AM
Paris, Brussels, Berlin, Madrid: 02:00 AM
Moscow, Kiev, Athens: 03:00 AM
Jakarta: 07:00 AM

Live on Livestream



Symphonic Jazz

Johann Sebastian Bach (1685-1750)

♪ Orchestral Transcriptions


Dmitri Shostakovich (1906-1975)

♪ Jazz Suite No.1 (1934) DSO premiere

i. Waltz
ii. Polka
iii. Foxtrot


Michel Camilo (b. 1954)

♪ Concerto for Jazz Trio & Orchestra (2017) world premiere

Michel Camilo, piano
Cliff Almond, drums   
Ricky Rodriguez, double bass 


Detroit Symphony Orchestra
Conductor: Leonard Slatkin

(HD 720p)

Live from Orchestra Hall, Max M. Fisher Music Center, Detroit

Saturday, April 22, 2017, 8:00 PM EDT (UTC-4)
Sunday, April 23, 2017, 03:00 AM EEST (UTC+3)

Live on Livestream


Pianist and composer Michel Camilo was born in Santo Domingo, Dominican Republic, in 1954. Fascinated with music since childhood, he composed his first song at the age of five, then studied for 13 years at the National Conservatory. At 16, he became a member of the National Symphony Orchestra.

Seeking to expand his musical horizons, he moved in 1979 to New York, where he continued his studies at Mannes and Juilliard School of Music. His composition Why Not? was recorded by Paquito D'Rivera as the title tune for one of his albums, and The Manhattan Transfer won a Grammy Award for their vocal version in 1983. His first two albums were titled Why Not? and Suntan/In Trio.

Camilo made his Carnegie Hall debut with his trio in 1985. Since then, he has become a prominent figure performing regularly in the United States, the Caribbean, Japan and Europe. December 1987 marked his debut as a classical conductor when the National Symphony Orchestra of the Dominican Republic invited him to conduct a recital featuring the works of Rimsky-Korsakoff, Beethoven, Dvorak and Camilo's own composition, The Goodwill Games Theme, which won an Emmy Award. That year, he became the musical director of the Heineken Jazz Festival in his native Dominican Republic, a post he held through 1992.

November of 1988 marked his debut on a major record label with the release of his self- titled album, Michel Camilo (Sony). The album became an instant success and held the top jazz album spot for ten consecutive weeks. His next recording, On Fire, was voted one of the top three Jazz Albums of the Year by Billboard, and 1990s On the Other Hand was a top-ten jazz album. All three releases reached the number-one position in radio airplay.

Camilo's list of compositions, recordings and other achievements throughout the '90s is vast. His composition Caribe was recorded by pianists Katia and Marielle Lebeque, and by the legendary Dizzy Gillespie, in 1991. His Rhapsody for Two Pianos and Orchestra, commissioned by the Philharmonia Orchestra, premiered a year later at the Royal Festival Hall. In 1993, Gavin and Billboard magazines picked his Rendezvous as one of the top jazz albums of the year.

Camilo performed a series of piano recitals in 1996 as part of Copenhagen's Cultural Capital of Europe celebration, and also debuted at the Kennedy Center for the Performing Arts in Washington, DC, and Carnegie Hall in New York. That same year, he performed in Israel, Spain, Mexico, Dominican Republic and Switzerland, where he debuted at Zurich's prestigious Tonhalle concert hall as part of the Jazz Piano Masters series.

He served as co-artistic director in 1998 for the first Latin-Caribbean Music Festival at the Kennedy Center, which featured performances by his trio and big band, as well as the world premiere of his Piano Concerto with the National Symphony Orchestra conducted by Leonard Slatkin. The following year, he toured with Cuban jazz pianist Chucho Valdes, and debuted with the Cleveland Symphony Orchestra.

In addition to compiling an extensive discography and maintaining a rigorous performance schedule, Camilo has composed and recorded a number of Spanish film scores over the years, and holds honorary degrees from his alma mater, Universidad Autonoma de Santo Domingo, and UTESA University of Santiago, Dominican Republic (he's the youngest person to ever receive the distinction from the latter school). In 1992, he was named a Knight of the Heraldic Order of Christopher Columbus by the Dominican Government.

At the turn of the millennium, his 2000 Verve release, Spain, with guitarist Tomatito, won Best Latin Jazz Album in the first-ever Latin Grammy Awards. Camilo also performed in a trio concert in 2000 presented by the New Jersey Chamber Society with special guest Paquito D'Rivera.

In 2001, Camilo appeared on the soundtrack CD for the acclaimed Latin jazz film Calle 54, directed by the Oscar-winning Spaniard Fernando Trueba. In addition to his activities as a composer and pianist, Camilo lectured and performed at many universities and colleges throughout Europe and the United States – including New York University, Berklee School of Music, MIT, William Paterson College (in New Jersey) and Puerto Rico Conservatory.

In November 2001, he was awarded the Silver Cross of the Order of Duarte, Sanchez & Mella from the president of the Dominican Republic, the highest honor that the government can give.

2002 marked a special year for Camilo with two albums: Classical and Jazz. In February, Decca released his Concerto for Piano & Orchestra, Suite for Piano, Strings and Harp & Caribe, to celebrate his guest appearance with the NSO conducted by Leonard Slatkin at the Kennedy Center for the Performing Arts in Washington, D.C.

In March 2002, Telarc released Triangulo, Camilo's Grammy Award nominee trio recording, which features bass guitarist Anthony Jackson and drummer Horacio "El Negro" Hernandez.

August 2003 marked the Telarc release of his latest album Live at the Blue Note, featuring Horacio "El Negro" Hernandez on drums and Charles Flores on acoustic bass. This two-CD set captures the quintessential Camilo "sound" live for the first time and was awarded a GRAMMY for Best Latin Jazz Album.

Source: michelcamilo.com













See also

Live on Livestream: All Past Events


Thursday, April 20, 2017

Johann Sebastian Bach: Chaconne from Partita for Solo Violin No.2, BWV 1004, arr. fof cello – Peter Schmidt














German-American cellist Peter Schmidt plays Johann Sebastian Bach's Chaconne from Partita for Solo Violin No.2, BWV 1004 (Cello arrangement). Recorded in July 2012 in Düsseldorf.



A chaconne (ciaccona in the Italian form, which Bach used) is basically a set of continuous variations over a repeating harmonic pattern (and/or its bass line). This protean one moves in the rhythm of a sarabande (in 3/4, with the weight on the dotted second beat). It is in three-part form, with an exalted middle section in the parallel major.

"On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings", Brahms wrote to Clara Schumann about the Chaconne. "If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind."

The Chaconne has inspired reworking by later musicians in a multitude of transcriptions and arrangements, and has prompted extravagant ideas about the inner nature of its mysteries. The German musicologist Helga Thoene has developed a theory that the Chaconne is in fact a tombeau, a memorial piece for Bach's first wife, Maria Barbara, who died in 1720 unexpectedly while Bach was away with his employer, Prince Leopold of Cöthen. In her theory, which has been realized in several recorded arrangements, the Chaconne includes many references to pertinent chorales.

Source: J. H. (laphil.com)



Johann Sebastian Bach (1685-1750)

♪ Chaconne from Partita for Solo Violin No.2, BWV 1004 (1717-1720), arr. fof cello

Peter Schmidt, cello

Partika-Saal der Robert Schumann Hochschule Düsseldorf, July 9, 2012

(HD 720p)















German-American cellist Peter Schmidt, born in Saarbrücken in 1983, is invited to play as soloist and chamber musician throughout Europe, the United States, Colombia and Mexico. He is a regular guest at international festivals such as Podium Festival Esslingen, the Festival Mas y Mas in Barcelona, Músics en Residència Alella, Encuentro de Musica de Camara UNICACH and Paaxfest in Mexico. In 2013 he recorded a CD with the works for cello and piano by Pablo Casals with pianist Katia Michel for the label Klassic Cat. He is artistic director of the chamber music festival Pòdium Internacional Matadepera, which took place for the first time in 2014. Peter performs as soloist with orchestras such as the Neue Philharmonie Westfalen, the Budweis Philharmonic Orchestra, the Konstanz University Orchestra, the Munich International Orchestra and the A-Orchester der Bundeswehr.

At the age of five he began his musical studies, first with piano lessons and three years later with cello lessons. At the age of 16 he was accepted into the class of Markus Wagner in the Musikhochschule Nürnberg-Augsburg. In 2007 he finished his studies at the Musikhochschule Munich with Wen-Sinn Yang and in 2010 received a chamber music degree with special honors from the Musikhochschule Detmold, where he studied with members of the Auryn Quartet. In 2012 he was awarded a prestigious Konzertexamen degree with special honors from the Robert-Schumann-Hochschule in Düsseldorf, where he studied with Gregor Horsch, principal cellist of the Concertgebouw Orchestra Amsterdam. He has taken part in master classes with Claude Starck, Wolfgang Boettcher, Gustav Rivinius, Jens-Peter Maintz, Frans Helmersson, Eberhard Feltz, Menahem Pressler, Andras Schiff, Arnold Steinhardt and Ana Chumachenco among others.

Peter Schmidt combines his activities as a performer with those as a teacher. He was assistant teacher at the Master Classes for Chamber Music, Violin, Viola and Cello in Groznjan, Croatia in 2009. Since 2010 he has been invited on several occasions by the Universidad de Ciencias y Artes de Chiapas, Mexico to give master classes and concerts; in 2012 he conducted a master class for cello and chamber music at the Conservatori del Liceu in Barcelona, in 2013 he gave classes at the Robert-Schumann-Hochschule Düsseldorf, substituting for his former teacher Gregor Horsch and in 2014 he was invited to give master classes at the Universidad Nacional de Colombia in Bogotá.

Source: peterschmidtcello.de



























More photos


See also


Johann Sebastian Bach: Cello Suite No.4 in E flat major, BWV 1010 – Peter Schmidt

Johann Sebastian Bach: Cello Suite No.3 in C major, BWV 1009 – Peter Schmidt


Johann Sebastian Bach: Cello Suite No.2 in D minor, BWV 1008 – Peter Schmidt


Johann Sebastian Bach: Cello Suite No.1 in G major, BWV 1007 – Peter Schmidt