Luedji Luna - Bom Mesmo É Estar Debaixo D'Água (Álbum Visual)
Ficha Técnica:
Uanga (composição: Lande Onawale ) Lande Onawale | Intérprete Totó Cruz | Percussão
Tirania (composição: Luedji Luna e Ravi Landin) Luedji Luna | Intérprete Luís Amato | Violino Caio Paiva dos Santos | Violino Emerson De Biaggi | Viola Bob Suethloz | Violoncelo Caê Rolfsen | Arranjo de Cordas Christian Kibamba | Baterista Tsanta Randri | Teclado Kato Change | Guitarrista
Chororô (composição: Luedji Luna e François Muleka) Luedji Luna | Intérprete Danz Nirina | Baixo Christian Kibamba | Baterista Tsanta Randri | Teclado Kato Change | Guitarrista
Ain't got no (composição: Nina Simone) Luedji Luna | Intérprete Danz Nirina | Baixo Christian Kibamba | Baterista Tsanta Randri | Teclado Kato Change | Guitarrista
A Noite Não Adormece nos Olhos das Mulheres Autoria e Interpretação: Conceição Evaristo
Ain't I a woman? (composição: Luedji Luna e Ravi Landin ) Luedji Luna | Intérprete Danz Nirina | Baixo Christian Kibamba | Baterista Tsanta Randri | Teclado Kato Change | Guitarrista Rudson Daniel | Percussão
Lençóis (composição: Luedji Luna e Cidinha da Silva ) Luedji Luna | Intérprete Danz Nirina | Baixo Christian Kibamba | Baterista Tsanta Randri | Teclado e Trompete Kato Change | Guitarrista
Quase Autoria e Interpretação: Tatiana Nascimento Bom Mesmo É Estar Debaixo D’Água (composição: François Muleka e Luedji Luna ) Luedji Luna | Intérprete Lisa Oduor-Noah | Backing Vocalist Isaac Kimani | Backing Vocalist Danz Nirina | Baixo Christian Kibamba | Baterista Tsanta Randri | Teclado Kato Change | Guitarrista
Luedji Luna | Direção e Produção Musical Kato Change | Produção Musical Gabriel Spazziani | Mixagem Jaaz Odongo | Engenheiros de Som (Nairobi / KE) Funai Costa e Éric Yoshino | Engenheiros de Som (São Paulo /SP) Claes Persson | Master
Elenco Luedji Luna Anita Costa Daiane Rosário Gabriela Gabee Kailana Costa
Joyce prado | Direção Luedji Luna | Roteiro Nuna Nunes | Diretora de fotografia Samya Carvalho | Montagem Kato Change | Sound Designer Darwin Marinho | Finalização
Regiane Silva e Joyce Prado | Produção Executiva Arthur Baeta | Direção de Produção Daiane Rosario | Produção
Joyce Prado | Arte & Figurino Isaac Silva Brand | Figurino Gabriela Gabee | Maquiagem Marília Aragão | Cabelo
Peu Fernandes | Fotógrafo Subaquático Fabíola Silva | Assistência de Câmera Regiane Silva | Logger Joselito 'Kinho' Bispo dos Santos | Segurança Jorge -- Real Tour | Motorista
Agradecimentos Adriana Santos Amp Studios (Nairobi / KE) Fundação Garcia D'Ávila Gustavo Silvestre Issac Silva Haight Marcus Bona Red Bull Music Studios São Paulo Cleber C. Chagas - Bar Habeas Copos
Agradecemos à todas as pessoas que pularam o Carnaval de Salvador em 2020. A energia e presença de vocês é essencial para a realização deste projeto!
Raphaël Pichon dirige l'Ensemble Pygmalion dans la Messe en si de Bach, avec Joanne Lunn, Lea Desandre, Lucile Richardot, Emiliano Gonzalez Toro et Christian Immler. Concert enregistré vendredi 24 mai 2019 à la Philharmonie de Paris.
Kyrie Gloria Credo Sanctus Benedictus
Distribution Ensemble Pygmalion Raphaël Pichon, direction Joanne Lunn, soprano Lea Desandre, mezzo-soprano Lucile Richardot, alto Emiliano Gonzalez Toro, ténor Christian Immler, basse
Dans les dernières années de sa vie, Johann Sebastian Bach acheva une série d’œuvres qui constituèrent un magnifique testament musical de tous les styles qu’il pratiqua, que ce soit le contrepoint avec L’Offrande musicale (1747), les Variations canoniques pour orgue (1747-1748) et L’Art de la fugue (1742-1750), ou la musique religieuse avec la Messe en si mineur (1746-1749). Mais contrairement aux autres monuments contrapuntiques cités précédemment, la Messe ne fut pas véritablement composée entre 1746 et 1749. Hormis deux sections du Credo conçues vraisemblablement en 1749, Bach retravailla des pièces qu’il avait écrites auparavant dans diverses circonstances. Il réussit un tour de force en créant une œuvre nouvelle et originale à partir d’un matériau composite. Le compositeur délaissa également l’aria da capo et le récitatif, des formes qu’il avait abondamment utilisées dans les cantates et les Passions. Ainsi, il livre à la postérité non pas sa conception de ce que devait être une messe – attitude paradoxale pour un compositeur profondément attaché au rite luthérien – mais sa vision de la musique religieuse. La Messe en si mineur constitue ainsi une admirable synthèse des différents styles qu’il pratiqua sa vie durant. La genèse de la Messe s’étendit donc sur plus de vingt années. Une première version du Credo fut sans doute exécutée pour la consécration de l’école Saint-Thomas de Leipzig, le 5 juin 1732. Un an plus tard, le 21 avril 1733, le Kyrie et le Gloria furent créés à l’occasion des vœux de fidélité du nouveau prince électeur de Saxe, Auguste III. Quatre mois après cette exécution, Bach adressa au souverain le manuscrit précédé de la supplique suivante : « Je m’offre avec la plus consciencieuse obéissance de démontrer en toute occasion mon zèle infatigable en composant de la musique sacrée aussi bien que pour l’orchestre chaque fois que Votre Majesté me fera la grâce de l’exiger. » La mise au point tardive de la Messe en si mineur explique pourquoi celle-ci ne fut jamais jouée dans son intégralité du vivant de Bach. Après le décès du cantor, l’autographe fut transmis à son fils cadet Carl Philipp Emanuel qui, en 1786, remania le Credo afin de le « moderniser ». Si des extraits furent régulièrement donnés entre 1811 et 1834, notamment par l’Académie de chant de Berlin, il fallut attendre 1859 pour que cette œuvre fût exécutée dans son intégralité (en traduction allemande!), sous la direction de Carl Riedel.
Dirección y montaje... Isaki Lacuesta Cámara y dirección de fotografía... Adriana Vila Guevara Laboratorios película: Cinelab Romania / Adriana Vila Guevara Telecine: Cinelab Romania Película: Kodak
Con Sílvia Pérez Cruz Nüll García Luna Lacuesta Alba Flores
Producción ejecutiva para El Pez Cruz de Albert Sorribes Una producción de El Pez Cruz & La Termita Films
Letra: Sylvia Plath Música: Sílvia Pérez Cruz
Voz: Sílvia Pérez Cruz Violín y segunda voz: Carlos Montfort Paisaje sonoro: Carlos Gárate, Juan Casanovas
“Vira mais Cinco” (também para o Zeca) É música portuguesa. É música para o Mundo. É uma espécie de Vira, para virar a música ao contrário, de pernas para o ar, como quem faz o pino. E o Zeca também procurou virar a mesa, virar para o lado melhor o mundo que vivia. Cantemos. Dancemos. Mas não fiquemos parados. Vira! Vira. O melhor da vida é o contrário do invariável.” Júlio Resende
Realização e Edição: Daniel Mota
Composto por Júlio Resende Direcção Musical e Arranjos Originais - Júlio Resende Produção - Júlio Resende
Piano - Júlio Resende Guitarra portuguesa - Bruno Chaveiro Contrabaixo - André Rosinha Bateria - Alexandre Frazão
Gravado no Atlantico Blue Studios, Julho 2020, por André Tavares Mistura de André Tavares / Júlio Resende Masterização de André Tavares
"Comment te dire adieu" (English: "How to Say Goodbye to You") is a French adaptation of the song "It Hurts to Say Goodbye". It was originally recorded by Françoise Hardy in 1968.
"It Hurts to Say Goodbye" was written by Arnold Goland, probably best known for his co-operation with Phil Spector, and the American producer and songwriter Jacob "Jack" Gold (1921-1992). In 1966 it was recorded by Margaret Whiting on her album The Wheel of Hurt. In 1967 a release by Vera Lynn reached #7 in Billboard's Adult Contemporary chart.
Sol Gabetta and the Orchestre Philharmonique de Radio France,conducted by Mikko Franck, perform the Cello in d minor op.43 composed in 1958 by Mieczyslaw Weinberg (1919-1996). Excerpt from the concert recorded on 21 décembre 2018, live from de Radio France Auditorium.
Mieczyslaw Weinberg is a relatively little-known composer whose fate was intertwined with the tragic events of the 20th century. Born in Warsaw in 1919, Weinberg studied the piano with his father before joining the conservatoire. He was twenty years old when Poland was invaded and his entire family killed. The only survivor, he sought refuge in Belarus and moved to Minsk, where he studied composition with Vassili Zolotarev. When the Nazis eventually invaded the USSR, he fled yet again and moved this time to Tachkent, in Uzbekistan. Having caught the attention of Shostakovitch, he moved to Moscow in 1943 but was arrested in 1953, by order of Stalin himself, for suppsed sionist activities; the death of the dictator only a few weeks later facilitated his release.
The end of the 1950s marked the beginning of a growing recognition, aided by the help of Shostakovitch. Though his music was performed by many of the greatest Russian musicians, his final years were marked by growing confusion and material difficulties. He died alone and desperate, having converted to Christianity in extremis shortly before his death. Seven operas, twenty two symhponies, and seventeen string quartets are part of an immense catalogue of works whose abundance is comparable to that of Darius Milhaud, even if Weinberg only assigned an opus number to barely a third of his compositions.
His opera, The Passanger, completed in 1968 but premiered posthumously in 2006, has since been staged throughout the world. It tells the story of an old female Nazi jailer who believes to have recognised, on a boat, a prisoner from Auschwitz.
Weinberg is also the composer of countless works of chamber music. It is said that for over thirty years Shostakovitch and Weinberg exchanged works in order to provide feedback on each other's music. It would, however, be unfair to consider Weinberg imitator: his music is also the result of influences from central European composers (Mahler, Bartok), but also the music of other Russian composers (Prokofiev), and even Jewish traditions.
Weinberg composed seven concertos, including a Cello Concerto premiered in 1957 by Mstislav Rostropovitch and recorded seven years later, again by Rostropovitch and the Moscow Philharmonic Orchestra, conducted by Kirill Kondrachine. The work, in four movements, is of a meditative colour, sombre and tense, with an orchestra strangely deprived of its oboe and bassoons but afforded a bass trombone, which strengthens its menacing character. The solo cello opens the work with a dark and painful melody. The music grows gradually, then La musique prend peu à peu son essor, before falling yet again into a sense of despondency. The second movement, vehement and angry, is followed by an Allegro with an air of false joy on the brink of madness; several extremely high notes from the cello testify to the bitterness of Weinberg's music, with a hammering orchestra, reminiscent of Béla Bartók. The cadenza is in fact a moment of meditation before a final hectic Allegro, this time evoking the orchestral music of Shostakovitch.
In 1962, jazz singer Ella Fitzgerald gave a concert in Berlin, which was recorded but the tapes were lost. The previously unheard concert recording has been released.
Masaaki Suzuki, conductor James Gilchrist, Evangelist (tenor) Aki Matsui, soprano Damien Guillon, alto Zachary Wilder, tenor Christian Immler, bass
Bach Collegium Japan, chorus & orchestra
March 15, 2020, at Kölner Philharmonie, Cologne, Germany
On March 15, 2020, Bach Collegium Japan made its debut at Kölner Philharmonie without an audience because of COVID-19 spread. It was just before all the lockdowns all over the world. Together with all the experts and kind cooperation of the Kölner Philharmonie, our performance of J. S. Bach's St. John Passion was live broadcast through Facebook, Instagram and YouTube and more than 250,000 people watched it worldwide. Fortunately, all the artists could go home safely and stayed healthy in isolation. We will not forget this concert under such unusual circumstances.