Brigid was probably born at Faughart near Dundalk, Louth, Ireland. Her parents were baptized by St. Patrick, with whom she developed a close friendship. According to legend, her father was Dubhthach, … continue reading
Eu Rîd, gand poetic de George-B (the smudge and other poems)
Mi s-a piedut cheia de acasa, am pierdut cheia de la moara mea
am pierdut cheia de la masina, de la barca cu moror, am pierdur vaslele. am pierdut duplicatul cheilor de mai sus, si cine stie cate alte chei si duplicatele lor: le-am pierdut!, le-am jelit, am tinut post dupa post, parastase de 40 de zile, cu popmana, si coliva, cu vanilie si nucsoara, ca avem nucsoara acum, ce n-aveam inainte noi copiii, generatiei fara speranta.
am pierdut cheia timpului si-a rostului lui – a timpului trecut…
acum pot sa spun: tot ce-a fost pierdut nimicu-i in cumpana cu ce inca am sa pierd: si de-aceea rîd cu gura pana la urechi eu rîd.
Also known as Innocents’ Day or Childermas, this day commemorates the massacre of all the male children two years and younger in Bethlehem as ordered by King Herod, who hoped that the infant Jesus would be among them. Not surprisingly, this day has long been regarded as unlucky. In ancient times, the “Massacre of the Innocents” was reenacted by whipping the younger members of a family. But over the years, the tables turned, and in some countries it has become a day when children play pranks on their elders. In Mexico, Childermas is the equivalent of April Fools’ Day. More…Discuss
Inspired from a book with the same title written by Dr Spencer Johnson. Its about 2 mice and two little people whose live in a maze. This story is actually reflecting ourselves and our behaviour when it comes to change. Like everything else CHANGE is inevitable. Many people resist change and live their lives in fear of change. Some will change according to time while mmost won’t. Some will take it as an opportunity while others will look at it as a threat. Which one is you?
The sinister reality -Then and Now – People still are hunting for a job!
Rodrigo’s music is among the most popular music of the twentieth century. In particular, his Concierto de Aranjuez is considered one of the pinnacles of the Spanish music and of the guitar concerto repertoire.
Life
He was born in Sagunto, Valencia, and almost completely lost his sight at the age of three after contracting diphtheria. He began to study solfège, piano and violin at the age of eight; harmony and composition from the age of sixteen. Although distinguished by having raised the Spanish guitar to dignity as a universal concert instrument and best known for his guitar music, he never mastered the instrument himself. He wrote his compositions in Braille, which was transcribed for publication.
Rodrigo studied music under Francisco Antich in Valencia and under Paul Dukas at the École Normale de Musique in Paris. After briefly returning to Spain, he went to Paris again to study musicology, first under Maurice Emmanuel and then under André Pirro. His first published compositions[1] date from 1940. In 1943 he received Spain’s National Prize for Orchestra for Cinco piezas infantiles (“Five Children’s Pieces”), based on his earlier composition of the same piece for two pianos, premiered by Ricardo Viñes. From 1947 Rodrigo was a professor of music history, holding the Manuel de Falla Chair of Music in the Faculty of Philosophy and Letters, at Complutense University of Madrid. Notable students include Yüksel Koptagel, Turkish composer and pianist.
His most famous work, Concierto de Aranjuez, was composed in 1939 in Paris for the guitarist Regino Sainz de la Maza. In later life he and his wife declared that it was written as a response to the miscarriage of their first child.[2] It is a concerto for guitar and orchestra. The central adagio movement is one of the most recognizable in 20th-century classical music, featuring the interplay of guitar with cor anglais. This movement was later adapted by the jazz arranger Gil Evans for Miles Davis‘ 1960 album ‘Sketches of Spain‘. The Concerto was adapted by the composer himself for Harp and Orchestra at the request of Nicanor Zabaleta and dedicated to Zabaleta.
The success of this concerto led to commissions from a number of prominent soloists, including Nicanor Zabaleta, for whom Rodrigo dedicated his Concierto serenata for Harp and Orchestra, Julian Lloyd Webber, for whom Rodrigo composed his Concierto como un divertimento for cello and orchestra, and James Galway, for whom Rodrigo composed his Concierto pastoral for flute and orchestra. In 1954 Rodrigo composed Fantasía para un gentilhombre at the request of Andrés Segovia. His Concierto Andaluz, for four guitars and orchestra, was commissioned by Celedonio Romero for himself and his three sons.
None of Rodrigo’s works, however, achieved the popular and critical success of the Concierto de Aranjuez and the Fantasia para un gentilhombre. These two works are very often paired in recordings.
He married Victoria Kamhi, a Turkish-born pianist whom he had met in Paris, on 19 January 1933, in Valencia. Their daughter, Cecilia, was born on January 27, 1941. Rodrigo died in 1999 in Madrid at the age of 97, and his daughter succeeded him as Marquésa de los Jardines de Aranjuez. Joaquín Rodrigo and his wife Victoria are buried at the cemetery at Aranjuez.
Works
Orchestral
Orchestra
Cinco Piezas Infantiles (1928)
Tres viejos aires de danza (1929; first performance, Jan. 20, 1930, by the Orquesta Sinfónica de Valencia conducted by José Manuel Izquierdo)
Dos miniaturas andaluzas (1929; first performance, Nov. 22, 1999, at the Palau de la Música de Valencia, Spain, by the Orquesta de Cámara Joaquín Rodrigo)
Zarabande lejana y Villancico (1930; first performance, March 9, 1931, at the Ecole Normale de Musique in Paris, by the Orquesta Femenina de París, conducted by Jane Evrard)
Per la flor del Lliri Blau, symphonic poem (1934; First Prize, Círculo de Bellas Artes)
Soleriana (first performance by the Berlin Philharmonic conducted by Hans von Benda, on August 22, 1953 in Berlin)
Pavana Real (1955)
Música para un jardín (1957) [Orchestration of his two piano Berceuses]
Dos piezas caballerescas for four-piece cello orchestra (1945; first performance, May 27, 1945, in Madrid by cello ensemble students of Juan Ruiz Casaux) – later transcribed for four guitars by Peter Jermer
Concierto en modo galante (1949; first performance, Nov. 4, 1949, in Madrid by Gaspar Cassadó, with the Orquesta Nacional de España, conducted by Ataulfo Argenta)
Concierto para una fiesta (1982; first performance, March 5, 1983, at the Ridglea Country Club in Fort Worth, TX, by Pepe Romero, with the Texas Little Symphony conducted by John Giordano)
Rincones de España (1990; first performance by Angel Romero on March 7, 1991, at New York’s Lincoln Center)
Dos esbozos for violin and piano (1923; Rodrigo’s “Opus 1”)
Cançoneta for violin and string orchestra (1923; first performance in 1923 in Valencia, Spain, by the Orquesta Sinfónica de Valencia, conducted by José Manuel Izquierdo)
Concierto de estío (1944; first performance, April 16, 1944, by Enrique Iniesta, at the Teatro San Carlos in Lisbon, Portugal, with the Orquesta Nacional de España, conducted by Bartolomé Pérez Casas)
Set Cançons Valencianes for violin and piano (1982)
Instrumental
Bandoneón
Motu perpetuo (1960)
Cello
Como una fantasía (1979; first performance, March 17, 1981, by Carlos Prieto, in Mexico City)
Tres pequeñas piezas (Ya se van los pastores, Por caminos de Santiago, Pequeña Sevillana) (1963)
Elogio de la guitarra (1971; written for the guitarist Angelo Gilardino, who gave the first performance)
Pajaros de primavera (1972; commissioned by Dr. Isao Takahashi, a promotor of classical guitar in Japan, for his wife Take Takahashi; first performed in 1972 at the hospital bedside of Take Takahashi in Japan, “interpreted by a guitarist friend,” as she was dying of cancer[5]—Christopher Parkening gave the first public performance, also in Japan)
Dos preludios (1976; first performance, 1989, by Celedonio Romero, in Los Angeles, CA, and first recording by Wolfgang Lendle)
Tríptico (1978; first performance, 1978, by Alexandre Lagoya, at the Château de Rougerie in France)
Un tiempo fue Itálica famosa (1981; first performance, 1989, by Randy Pile in San Diego, CA)
Ecos de Sefarad (1987; first performance, 1989, by Sherri Rottersman, at the Círculo Medina in Madrid)
¡Qué buen caminito! (1987; first performance, 1987, by Mariá Esther Guzmán, at the Conservatorio de Música de Sevilla)
Cinco Piezas Infantiles (Son chicos que pasan, Después de un cuento, Mazurka, Plegaria, Gritería) (1924)
Preludio al Gallo mañanero (1926)
Zarabande lejana (1926)
Pastorale (1926)
Bagatela (1926)
Berceuse de printemps (1928)
Air de Ballet sur le nom d’une Jeune Fille (1930)
Serenata Española (1931)
Sonada de adiós (‘Homenaje a Paul Dukas’) (1935)
Cuatro Piezas (Caleseras, Fandango del ventorrillo, Prayer of the Princess of Castile, Danza Valenciana) (1936-1938)
Tres Danzas de España (Rústica, Danza de los tres doncellas, Serrana) (1941)
Gran Marcha de los Subsecretarios (1941)
A l’ombre de Torre Bermeja (1945)
Cuatro Estampas Andaluzas (1946-1952)
El Album de Cecilia (María de los Reyes, Jota de las Palomas, Canción del Hada rubia, Canción del Hada morena, El negrito Pepo, Borriquillos a Belén) (1948)
Cinco Sonatas de Castilla, con Toccata a modo de Pregón (1950-1951)
Danza de la Amapola (1972)
Atardecer (1975)
Sonatina para dos Muñecas (1977)
Tres Evocaciones (Tarde en el parque, Noche en el Guadalquivir, Triana) (1980-1981)
Preludio de Añoranza (1987)
Violin
Capriccio (1944; first performance, Jan. 8, 1946, by Enrique Iniesta, in Madrid)
Vocal/choral
Ave Maria for unaccompanied choir (1923)
Ausencias de Dulcinea (1948); First prize, Cervantes Competition
Cuatro Madrigales Amatorios (1948)
De las doce canciones españolas (Textos populares adaptados por Victoria Kamhi) (1951)
Villancicos y canciones de navidad (1952); Ateneo de Madrid Prize
W.A. Mozart Piano Concerto No.9 in E flat Major K. 271 “Jeunehomme” Mitsuko Uchida – Piano Jeffrey Tate – Conductor
Dame Mitsuko Uchida DBE (内田光子), born December 20, 1948, is a Japanese naturalized-British classical pianist generally regarded as one of the finest of her era. She has appeared with most of the world’s foremost orchestras, recorded a wide repertory with major labels, won numerous awards and honors (including Dame Commander of the Order of the British Empire in 2009), and serves as co-director of the Marlboro Music School and Festival. In recent years, she has also conducted major orchestras.
Born in Atami, a seaside town close to Tokyo, Japan, Uchida moved to Vienna, Austria, with her diplomat parents when she was 12 years old, after her father was named the Japanese ambassador to Austria. She enrolled at the Vienna Academy of Music to study with Richard Hauser, and later Wilhelm Kempff and Stefan Askenase, and remained in Vienna to study when her father was transferred back to Japan after five years. She gave her first Viennese recital at the age of 14 at the Vienna Musikverein. She also studied with Maria Curcio, the last and favourite pupil of Artur Schnabel.
In 1969 she won the first prize in the Beethoven Competition in Vienna and in 1970 the second prize in the International Chopin Piano Competition. In 1975, she won second prize in the Leeds Piano Competition.
In 1998 Uchida was the Music Director of the Ojai Music Festival in conjunction with conductor and violinist, David Zinman.
She is an acclaimed interpreter of the works of Mozart, Beethoven, Schubert, Chopin, Debussy and Schoenberg. She has recorded all of Mozart’s piano sonatas (a project that won the Gramophone Award), and concerti, the latter with the English Chamber Orchestra, conducted by Jeffrey Tate. Her recording of the Schoenberg Piano Concerto with Pierre Boulez won another Gramophone Award. She is further noted for her recordings of Beethoven’s complete piano concerti with Kurt Sanderling conducting, Beethoven’s late piano sonatas, and a Schubert piano cycle. She is distinguished as an interpreter of the works of the Second Viennese School. Her 2009 recording of the Mozart Piano Concertos nos. 23 and 24, in which she conducted the Cleveland Orchestra as well as playing the solo part, won the Grammy Award.
From 2002 to 2007 she served as artist-in-residence for the Cleveland Orchestra, where she led performances of all of Mozart’s solo piano concertos. She has also conducted the English Chamber Orchestra, among others, from the keyboard. In 2010, she was artist-in-residence for the Berlin Philharmonic. She is one two Artistic Directors of the Marlboro Music School and Festival, along with fellow pianist Richard Goode. She is also a trustee of the Borletti-Buitoni Trust, an organization established to help young artists develop and sustain international careers.[5] In May 2012, the Royal Philharmonic Society announced that she would be honored with their Gold Medal (she received the society’s annual Music Award in 2003); previous recipients have included Johannes Brahms (1877), Frederick Delius and Sir Edward Elgar (1925), Richard Strauss (1936), Igor Stravinsky (1954), Benjamin Britten and Leonard Bernstein (1987).
Uchida currently resides in London. Her long-standing partner, Sir Robert Cooper, currently works for the European Union in Brussels.
A divine composition based on a unique poem, made a complete Leonard Cohen pièce de résistance, and the rendition beyond the realm of words by Martha Wainwright not to forget the out of this world musical arrangement: I am so happy to be able to appreciate this historic moment of excellence in the making. The explanation given by Mr. Cohen to the meaning of the verse describes a predicament in which each and every one of us found ourselves at least once in life, which makes it our life story, within which we can dissolve completely.
The world is indeed the theater in which we’re actors, directors and spectators:
Now the Swan it floated on the English river Ah the Rose of High Romance it opened wide A sun tanned woman yearned me through the summer and the judges watched us from the other side
I told my mother “Mother I must leave you preserve my room but do not shed a tear Should rumour of a shabby ending reach you it was half my fault and half the atmosphere”
But the Rose I sickened with a scarlet fever and the Swan I tempted with a sense of shame She said at last I was her finest lover and if she withered I would be to blame
The judges said you missed it by a fraction rise up and brace your troops for the attack Ah the dreamers ride against the men of action Oh see the men of action falling back
But I lingered on her thighs a fatal moment I kissed her lips as though I thirsted still My falsity had stung me like a hornet The poison sank and it paralysed my will
I could not move to warn all the younger soldiers that they had been deserted from above So on battlefields from here to Barcelona I’m listed with the enemies of love
And long ago she said “I must be leaving, Ah but keep my body here to lie upon You can move it up and down and when I’m sleeping Run some wire through that Rose and wind the Swan”
So daily I renew my idle duty I touch her here and there — I know my place I kiss her open mouth and I praise her beauty and people call me traitor to my face
Leonard Cohen: “It was called “The traitor”. It was about the feeling that we have of betraying some mission that we were mandated to fulfill, and being unable to fulfill it, and then coming to understand that the real mandate was not to fulfill it, and that the deeper courage was to stand guiltless in the predicament in which you found yourself”.
Estudió Juan Bautista Pujol with the Municipal Conservatory of Barcelona. After debuting at age fourteen (1886) extended his studies at the Paris Conservatoire, where he won first prize in piano and Diémer award 1903 Acted throughout Spain, France and Portugal with extraordinary success. It opened a lot of masterpiece Isaac Albéniz: Print composer wrote Iberia.Como Spain, suite for large orchestra, a Spanish Serenade 1 a trio for piano, violin and cello, and piano works different: mazurkas, dances, serenades, and Waltz Babillage Caprice.En the Music Museum of Barcelona newspaper articles a correspondence with Isaac Albéniz and a large collection of photographic portraits of pianist preserved.
Alicia de Larrocha (1923 – 2009) performs El Fandango De Candil, from Goyescas, Book I, H. 64. De Larrocha recorded this work in 1963 for Hispavox; EMI remastered the performance and released it internationally in 2003. —————————————-————— Alicia de Larrocha i de la Calle, (Barcelona, 23 de maio de 1923 – Barcelona, 25 de setembro de 2009) foi uma pianista espanhola, reconhecida como a de maior projecção internacional, e uma das melhores intérpretes de piano do século XX especialmente em obras de Wolfgang Amadeus Mozart e no repertório espanhol. —————————————-————— Alicia de Larrocha y de la Calle (23. maj 1923 – 25. september 2009) var en spansk pianist, der blev regnet som en af de bedste i sin generation. —————————————-————— Alicia de Larrocha y de la Calle (* 23. Mai 1923 in Barcelona; † 25. September 2009 ebenda) war eine spanische Pianistin. —————————————-————— Alicia de Larrocha y de la Calle (23. toukokuuta 1923 25. syyskuuta 2009) oli espanjalainen pianisti. —————————————-————— Alicia de Larrocha de la Calle est une pianiste espagnole, née le 23 mai 1923 à Barcelone où elle est morte le 25 septembre 2009 à l’âge de 86 ans. —————————————-————— Алисия де Ларроча и де ла Калье (исп. Alicia de Larrocha y de la Calle; 23 мая 1923(19230523), Барселона — 25 сентября 2009, Барселона) — испанская пианистка. —————————————-————— Alícia de Larrocha i de la Calle (hiszp. Alicia de Larrocha y de la Calle; ur. 23 maja 1923 w Barcelonie, zm. 25 września 2009 tamże) pianistka katalońska. Uczennica Franka Marshalla. Pierwszy raz wystąpiła publicznie w wieku 6 lat. Zadebiutowała w Wielkiej Brytanii w roku 1953, a w Stanach Zjednoczonych w 1955 (z Los Angeles Philharmonic Orchestra). Dokonała wielu nagrań, cenione są jej wykonania muzyki kompozytorów hiszpańskich (m.in. Granadosa i Albeniza). —————————————-————— Enrique Costanzo Granados y Campiña (ur. 27 lipca 1867 w Leridzie, Katalonia, zm. 24 marca 1916) hiszpański pianista i kompozytor, współtwórca narodowego stylu w muzyce hiszpańskiej. —————————————-————— Pantaleón Enrique Joaquín Granados y Campiña (Lleida, Catalonië, 27 juli 1867 – op zee (tussen Folkestone en Dieppe), 24 maart 1916) was een Spaans componist, muziekpedagoog en pianist. —————————————-————— Enrique Granados y Campiña (Enric en catalan) (né le 27 juillet 1867, à Lérida décédé le 24 mars 1916, en mer) est un compositeur et pianiste espagnol. —————————————-————— Enric Granados i Campiña (span. Enrique Granados y Campiña) (* 27. Juli 1867 in Lleida, Katalonien; † 24. März 1916 nach der Torpedierung der Kanalfähre Sussex im Ärmelkanal) war ein spanischer Komponist und Pianist. —————————————-————— Enrique Granados y Campiña (Lérida, 27 de julio de 1867 – Canal de la Mancha, 24 de marzo de 1916), generalmente conocido como Enrique Granados fue un compositor y pianista español. —————————————-————— Энри́ке Грана́дос (полное имя Панталеон Энрике Костанцо Гранадос-и-Кампинья — исп. Pantaléon Enrique Costanzo Granados y Campiña; 27 июля 1867, Лерида — 24 марта 1916, в проливе Ла-Манш) — испанский композитор и пианист, один из наиболее заметных деятелей испанской музыкальной культуры конца XIX — начала XX веков. —————————————-————— אנריקה גרנדוס (בספרדית: Enrique Granados, 27 ביולי 1876 – 24 במרץ 1916), מלחין ופסנתרן ספרדי. —————————————-————— Enrique Costanzo Granados y Campiña (Lleida, 27 luglio 1867 La Manica, 24 marzo 1916) è stato un compositore e pianista spagnolo.
The famous Italian guitar player Stefano Grondona plays “Danza Española n.5 ‘Andaluza'”, composed by Enrique Granados (1867-1916), original for piano, here in a transcription for guitar by Miguel Llobet (1878-1938). This is a part of a concert in Barcelona in 2006.
slippery heavy hot lightning wet salt bitter blue black gray … randomly most leaked through my fingers, like the fine sands from the beaches of Mamaia … I sat those words that did not flee And I built a house of words And I used that evening armature moonless night And I put the as firmament to watch over Being very tired after so much work I slept in the house of words with the firmament watching over…
A divine composition based on a unique poem, made a complete Leonard Cohen pièce de résistance, and the rendition beyond the realm of words by Martha Wainwright not to forget the out of this world musical arrangement: I am so happy to be able to appreciate this historic moment of excellence in the making. The explanation given by Mr. Cohen to the meaning of the verse describes a predicament in which each and every one of us found ourselves at least once in life, which makes it our life story, within which we can dissolve completely.
The world is indeed the theater in which we’re actors, directors and spectators:
Now the Swan it floated on the English river Ah the Rose of High Romance it opened wide A sun tanned woman yearned me through the summer and the judges watched us from the other side
I told my mother “Mother I must leave you preserve my room but do not shed a tear Should rumour of a shabby ending reach you it was half my fault and half the atmosphere”
But the Rose I sickened with a scarlet fever and the Swan I tempted with a sense of shame She said at last I was her finest lover and if she withered I would be to blame
The judges said you missed it by a fraction rise up and brace your troops for the attack Ah the dreamers ride against the men of action Oh see the men of action falling back
But I lingered on her thighs a fatal moment I kissed her lips as though I thirsted still My falsity had stung me like a hornet The poison sank and it paralysed my will
I could not move to warn all the younger soldiers that they had been deserted from above So on battlefields from here to Barcelona I’m listed with the enemies of love
And long ago she said “I must be leaving, Ah but keep my body here to lie upon You can move it up and down and when I’m sleeping Run some wire through that Rose and wind the Swan”
So daily I renew my idle duty I touch her here and there — I know my place I kiss her open mouth and I praise her beauty and people call me traitor to my face
“It was called “The traitor”. It was about the feeling that we have of betraying some mission that we were mandated to fulfill, and being unable to fulfill it, and then coming to understand that the real mandate was not to fulfill it, and that the deeper courage was to stand guiltless in the predicament in which you found yourself”. (Leonard Cohen)
The Traitor_Martha Wainwright_Leonard Cohen_I’m Your Man A divine composition based on a unique poem, made a complete Leonard Cohen pièce de résistance, and the rendition beyond the realm of words by Martha Wainwright not to forget the out of this world musical arrangement: I am so happy to be able to appreciate this historic moment of excellence in the making. The explanation given by Mr. Cohen to the meaning of the verse describes a predicament in which each and every one of us found ourselves at least once in life, which makes it our life story, within which we can dissolve completely.
The world is indeed the theater in which we’re actors, directors and spectators:
Now the Swan it floated on the English river Ah the Rose of High Romance it opened wide A sun tanned woman yearned me through the summer and the judges watched us from the other side
I told my mother “Mother I must leave you preserve my room but do not shed a tear Should rumour of a shabby ending reach you it was half my fault and half the atmosphere”
But the Rose I sickened with a scarlet fever and the Swan I tempted with a sense of shame She said at last I was her finest lover and if she withered I would be to blame
The judges said you missed it by a fraction rise up and brace your troops for the attack Ah the dreamers ride against the men of action Oh see the men of action falling back
But I lingered on her thighs a fatal moment I kissed her lips as though I thirsted still My falsity had stung me like a hornet The poison sank and it paralysed my will
I could not move to warn all the younger soldiers that they had been deserted from above So on battlefields from here to Barcelona I’m listed with the enemies of love
And long ago she said “I must be leaving, Ah but keep my body here to lie upon You can move it up and down and when I’m sleeping Run some wire through that Rose and wind the Swan”
So daily I renew my idle duty I touch her here and there — I know my place I kiss her open mouth and I praise her beauty and people call me traitor to my face
Leonard Cohen: “It was called “The traitor”. It was about the feeling that we have of betraying some mission that we were mandated to fulfill, and being unable to fulfill it, and then coming to understand that the real mandate was not to fulfill it, and that the deeper courage was to stand guiltless in the predicament in which you found yourself”.
Alicia de Larrocha (1923 – 2009) performs Zapateado from Seis Piezas Sobre Cantos Populares Españoles, by Enrique Granados. This performance originally was recorded by Hispavox circa 1961, then distributed in 1974 under the Musical Heritage Society label (MHS 1870).
Alicia de Larrocha i de la Calle, (Barcelona, 23 de maio de 1923 – Barcelona, 25 de setembro de 2009) foi uma pianista espanhola, reconhecida como a de maior projecção internacional, e uma das melhores intérpretes de piano do século XX especialmente em obras de Wolfgang Amadeus Mozart e no repertório espanhol.
Alicia de Larrocha y de la Calle (23. maj 1923 – 25. september 2009) var en spansk pianist, der blev regnet som en af de bedste i sin generation.
Alicia de Larrocha y de la Calle (* 23. Mai 1923 in Barcelona; † 25. September 2009 ebenda) war eine spanische Pianistin.
Alicia de Larrocha y de la Calle (23. toukokuuta 1923 25. syyskuuta 2009) oli espanjalainen pianisti.
Alicia de Larrocha de la Calle est une pianiste espagnole, née le 23 mai 1923 à Barcelone où elle est morte le 25 septembre 2009 à l’âge de 86 ans.
Алисия де Ларроча и де ла Калье (исп. Alicia de Larrocha y de la Calle; 23 мая 1923(19230523), Барселона — 25 сентября 2009, Барселона) — испанская пианистка.
Alícia de Larrocha i de la Calle (hiszp. Alicia de Larrocha y de la Calle; ur. 23 maja 1923 w Barcelonie, zm. 25 września 2009 tamże) pianistka katalońska. Uczennica Franka Marshalla. Pierwszy raz wystąpiła publicznie w wieku 6 lat. Zadebiutowała w Wielkiej Brytanii w roku 1953, a w Stanach Zjednoczonych w 1955 (z Los Angeles Philharmonic Orchestra). Dokonała wielu nagrań, cenione są jej wykonania muzyki kompozytorów hiszpańskich (m.in. Granadosa i Albeniza).
Enrique Costanzo Granados y Campiña (ur. 27 lipca 1867 w Leridzie, Katalonia, zm. 24 marca 1916) hiszpański pianista i kompozytor, współtwórca narodowego stylu w muzyce hiszpańskiej.
Pantaleón Enrique Joaquín Granados y Campiña (Lleida, Catalonië, 27 juli 1867 – op zee (tussen Folkestone en Dieppe), 24 maart 1916) was een Spaans componist, muziekpedagoog en pianist.
Enrique Granados y Campiña (Enric en catalan) (né le 27 juillet 1867, à Lérida décédé le 24 mars 1916, en mer) est un compositeur et pianiste espagnol.
Enric Granados i Campiña (span. Enrique Granados y Campiña) (* 27. Juli 1867 in Lleida, Katalonien; † 24. März 1916 nach der Torpedierung der Kanalfähre Sussex im Ärmelkanal) war ein spanischer Komponist und Pianist.
Enrique Granados y Campiña (Lérida, 27 de julio de 1867 – Canal de la Mancha, 24 de marzo de 1916), generalmente conocido como Enrique Granados fue un compositor y pianista español.
Энри́ке Грана́дос (полное имя Панталеон Энрике Костанцо Гранадос-и-Кампинья — исп. Pantaléon Enrique Costanzo Granados y Campiña; 27 июля 1867, Лерида — 24 марта 1916, в проливе Ла-Манш) — испанский композитор и пианист, один из наиболее заметных деятелей испанской музыкальной культуры конца XIX — начала XX веков.
אנריקה גרנדוס (בספרדית: Enrique Granados, 27 ביולי 1876 – 24 במרץ 1916), מלחין ופסנתרן ספרדי.
Enrique Costanzo Granados y Campiña (Lleida, 27 luglio 1867 La Manica, 24 marzo 1916) è stato un compositore e pianista spagnolo.
On a narrow terrace more than halfway up the precipitous cliffs of Montserrat in Spain is a Benedictine monastery that houses a library. Perhaps its most precious item is the Llibre Vermell de Montserrat, or Red Book of Montserrat, a manuscript containing devotional songs by unknown composers. Filled with songs for pilgrims, the manuscript was completed around 1399 and once contained 172 double pages, but more than 30 have been lost. Why does the manuscript have “red” in the title?More…
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