French harpist Sylvain Blassel gives the world-premiere recording, note for note, unarranged, of the Goldberg Variations on a vintage Erard harp of 1904. Lontano 2564 69199-6
harp harpe harp Bach harpist harpiste Goldberg Goldberg Variations Bach JS Bach Sylvain Blassel Erard Erard harp
French harpist Sylvain Blassel plays his transcription of the very famous guitar piece "Recuerdos de la Alhambra" of Francesco Tarrega, with his 5th finger, without enharmonics, just repeated notes on the same string, on his Erat harp of 1830. The score : www.harpebudin.com The PDF score : www.harpebudin.com www.sylvainblassel.com http www.laurebourru.fr
tarrega harp blassel recuerdos harpe old harp erard sylvain blassel harp transcription harposphere
Liszt's "Grand Paganini Etudes" written in 1851 are a revised version of the "Transcendal Etudes after Paganini" (1838). In both versions, the third one, La Campanella is a summary of the "Great Fantasia di Bravura on Paganini's Campanella" (1834). A real feat of virtuosity , La campanella ( "The Little Bell") is the only etude that isn't a transcription of a Paganini Caprice for Violin, but a suite of variations on the rondo's theme from Paganini's second violon concerto. Sylvain Blassel's performance on the harp is a world premiere and in no way is a simplification of the original piece for piano. Based on the first edition (Breitkopf, 1851), this transcription is faithful to the didactic spirit of the Etude in order to work on flexibility, dexterity and agility. Only a few sections functionally impossible to perform on the harp have been replaced, by sections that are equally as difficult, but possible. As Liszt did, the music has been transposed for practical reasons from the violin's B minor to the piano's G# and finally to G minor for the harp. Sylvain Blassel plays on a 1929 Erard harp, Louis XVI style. ****************** Ecrites en 1851, les "Grandes Études de Paganini transcrites pour le piano par F. Liszt" sont une version révisée des "Etudes d'exécution transcendante d'après Paganini" de 1838. Dans les deux versions, la troisième étude, la Campanella, est elle-même un résumé de la "Grande Fantaisie de bravoure sur la Clochette de Paganini", de 1834. Véritable <b>...</b>
liszt franz liszt Paganini Liszt Paganini La Campanella Campanella harp harpe Erard Erard harp blassel sylvain blassel harposphere
Written in 1847, the second Hungarian Rhapsody is probably one of the most popular pieces written by Liszt. The whole work is fully inspired by Gipsy traditional music. It starts with the Lassan, which solemnity really contrasts with the following Friska full of joy, happiness and incredibly virtuoso. Sylvain Blassel is the first harpist to play entirely the second Hungarian rhapsody. His transcription is very close from the original version apart from the tone and a few short sections slightly modified for a better effect at the harp. Sylvain Blassel plays this time on an 1898, Gothic styled Erard harp (Paris branch). Composée en 1847, la deuxième rhapsodie hongroise est sans doute l'une des partitions les plus populaires de Liszt. Inspirée en tous points des musiques tziganes, la gravité de la première partie, Lassan, contraste avec la joie et la bonne humeur du Friska suivant, d'une impressionnante virtuosité. Sylvain Blassel est le premier harpiste à jouer intégralement cette deuxième rhapsodie hongroise. Sa transcription n'est pas très éloignée de la version originale : à part la tonalité transposée, seules quelques mesures sont légèrement modifiées, pour un meilleur effet à la harpe. Sylvain Blassel joue ici une harpe Erard de Paris, style gothique, de 1898. www.sylvainblassel.com http www.laurebourru.fr
liszt franz liszt Hungarian Rhapsody #2 Rhapsodie hongroise n°2 rhapsodie Liszt rhapsodie harp harpe Erard Erard harp blassel sylvain blassel harposphere
Sylvius Leopold Weiss for whom Bach is likely to have dedicated the majority of his lute compositions is probably one the last great German lutenist. This Fantasia in C minor was written in Prague in 1719 and is well known from the guitarists. Like a prelude or a fugue, the arpeggios almost improvised in the first part, contrast with the contrapuntal writing of the following allegro. Sylvain Blassel performs this fantasia on an Erat harp (around 1830). Sylvius Leopold Weiss est sans doute l'un des derniers grands luthistes baroques allemands, pour qui Bach destina vraisemblablement la plupart de son oeuvre pour luth. Bien connue des guitaristes, cette Fantaisie en ut mineur fût composée en 1719 à Prague. Les arpèges presque improvisés de la première partie contrastent avec l'écriture contrapuntique de l'allegro, à la manière d'un prélude et fugue. Sylvain Blassel joue une harpe Erat (vers 1830). www.sylvainblassel.com http www.laurebourru.fr .
Weiss Sylvius Leopold Weiss fantaisie luth baroque lute harp harpe Erat Erat harp Blassel Sylvain Blassel Harposphère
Écrites à la mort de Chopin en 1849, les Consolations révèlent un Liszt doucement mélancolique, presque chagrin. Occupé à la rédaction d'un livre en hommage à son confrère polonais, Liszt semble s'imprégner du langage de son défunt ami, particulièrement à travers cette troisième consolation, sans doute la plus connue des six. Sylvain Blassel joue cette troisième Consolation, S.172, sur une harpe Erard, style gothique à colonne torsadée, de 1907. Written in 1849 as Chopin passed away, the Consolations divulge a slightly gloomy Liszt, almost sad. As he was writing a book in tribute to his Polish colleague, Liszt seems to have adopted his deceased friend's language, especially in this third consolation, probably the most popular of all six pieces. Sylvain Blassel performs this third Consolation, S.172, on a gothic styled, twisted column Erard harp from 1907. www.sylvainblassel.com http www.laurebourru.fr
liszt franz liszt consolations Consolation No. 3 3ème Consolation harp harpe Erard Erard harp blassel sylvain blassel harposphere
Sylvius Leopold Weiss, one of the greatest baroque German lutenist, has written over 600 works for the luth. His huge talent as a performer has risen the interest of many composers for this instrument, among which, JS Bach. Jan Antonin Losy (or Logy) from Prague who was born around 1650 was for Weiss a model as a lutenist, a composer and also an improviser. When he passed away at the end of the summer 1721, Weiss wrote this overwhelming composition as a tribute. Sylvain Blassel performs this « Tombeau sur la mort de M. Comte de Logy » on an Erat harp (around 1830). Sylvius Leopold Weiss, l'un des plus grands luthistes baroques allemands, est l'auteur de quelques 600 pièces pour luth. Son immense talent d'interprète a provoqué l'intérêt de nombreux musiciens pour cet instrument, parmi lesquels JS Bach. Né vers 1650, le praguois Jan Antonin Losy (ou Logy) était pour Weiss un modèle autant de luthiste, de compositeur que d'improvisateur. A sa disparition à la fin de l'été 1721, Weiss lui rendit hommage à travers cette pièce funèbre et bouleversante. Sylvain Blassel joue ce Tombeau sur la mort de M. Comte de Logy sur une harpe Erat (vers 1830). www.sylvainblassel.com http www.laurebourru.fr .
Weiss Sylvius Leopold Weiss Tombeau Logy luth laute baroque lute harp harpe Erat Erat harp Blassel Sylvain Blassel harposphere
Pierre Boulez, compositeur incontournable du XXe siècle, est l'auteur d'une oeuvre aussi essentielle que fondamentale. Composée en 1984, Dérive est sans doute l'une de ses partitions les plus accessibles. Son architecture, largement perceptible, est calquée sur des modèles anciens simples, et plus que jamais, l'organisation de son langage musical n'est qu'un prétexte aux veloutés des couleurs acoustiques. Sylvain Blassel, direction et présentation. Atelier XXème du CRR de Rennes : Yann Rolland, flûte Pauline Lovat, clarinette Melaine Guieu, piano Steve Clarenbeck, vibraphone Marion Teurtrie, violon Louma Letouzic, violoncelle Concert donné aux Champs Libres à Rennes le 7 décembre 2012. sylvainblassel.com www.conservatoire.rennes.fr www.leschampslibres.fr
Dérive Boulez concert lecture conférence musique contemporaine Conservatoire Rennes Sylvain Sylvain
Inspired from the poem "Mazeppa" issued from "Orientales" writen by Victor Hugo, this piece is the fourth of the "Twelve Transcendentals Etudes" composed by Franz Liszt in 1852. Beautifully performed by Sylvain Blassel on a 1922 Lyon & Healy harp, this highly difficult work represents Ivan Mazeppa strapped onto the back of a galloping horse, his fall announcing death and finally, wake up and triumph. Inspirée du poème "Mazeppa" tiré des "Orientales" de Victor Hugo, cette pièce est la quatrième des "douze études d'exécution transcendante" composées par Franz Liszt en 1852. Magnifiquement interprétée sur une harpe Lyon & Healy de 1922 par Sylvain Blassel, cette œuvre d'une grande difficulté, représente la folle course sur le dos du cheval, la chute semblant annoncer la mort, et enfin, le réveil et le triomphe d'Ivan Mazeppa. www.sylvainblassel.com http www.laurebourru.fr
liszt franz liszt mazeppa ivan mazeppa mazepa ivan mazepa blassel harp harpe sylvain blassel harposphere lyon lyon healy
Viedo-Clip conveying the photographic soul world of Rosa Cobos with the poetic gift of Leonard Cohen. This work is a tribute to the mystical creativity of this great man. This work belongs to Rosa Cobos's "Soul's Resonance" artistic project. The background music is from JS Bach, Goldberg Variations (25) performed by Sylvain Blassel
Francesco Filidei (*1973): Chant du Soir, per flauto e arpa (2003) Cedrin Jullion, flauto Sylvain Blassel, arpa Registrazione live effettuata a Parigi, Espace Fleuret, il 17.10.2003. Cover image: painting by Edgar Caracristi. *** The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be apreciated.
Francesco Filidei chant du soir flute harp chamber contemporary modern classical music
Violist ☛Victor de Almeida☚ and harpist ☛Gillian Benet Sella☚ make a home video, performing the fourth movement of the Fantasy Sonata for Viola and Harp by Sir Arnold Bax (1883-1953). Please visit our channel for more!
Viola and harp Sir Arnold Bax Victor de Almeida Gillian Benet Sella harp viola sonata
Please note: As of August 27, 2010, I am uploading music videos to a new channel: youtube.com If you enjoy this video and would like to subscribe to new material that I upload please visit that channel and subscribe. Apologies for the inconvenience. regards, david ~~~~~~~~~~~~~~~~~~~~~~~...
Nicanor Zabaleta Danza de la Hoguera Gustavo Pittaluga Divertissements André Caplet Никанор Сабалета ניקנור זאבאלטה Esoteric Records ES-509 Romance Harp Fantasy Alonso de Mudarra Caplet davidhertzberg David Hertzberg Classic Vinyl lps classicvinyl.com
Third grey day in a row and I wasn't feeling too cheerful this morning, but all that changed when I went outside to feed the critters and found Patsy waiting for me at the gate. I saw in her eyes that she was in the mood for some quality time. I stepped over the fence and normally she would take a step back, but not today. Patsy needed hug. It had been at least 6 months since our last get-together but this morning Patsy yearned for some physical contact, it was like she felt I needed it too. We hugged for at least ten minutes, she loved my embraces and reacted to the soft whispers in her ear. After she was done I went inside to get my camcorder, hoping I could get a few moving pictures of these moving moments. And she allowed it, though soon she was done and wanted to have breakfast. It's not the best quality, not easy to stroke a sheep with one hand and record it with the other, but since these moments are very scarce I had to share it on this memorable day 11-11-11!
ტიხრულ მინანქარზე მუშაობის პროცესი 2010 წელი The process of working on cloisonne enamel 2010 year www.facebook.com
The cemetery on Castle Hill (Cimetière Colline du Château) with a magnificent view of the old quarter of Nice and the Bay of Angels (Baie des Anges). A Christian cemetery with Roman Catholic and Protestant sections; and adjacent, the Jewish cemetery Music: Bach on harp Observatory of the Côte d'Azur, Cathédrale Sainte-Réparate
