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luís soares

Blog do escritor Luís Soares

Bom Mesmo É Estar Debaixo D'Água

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!

Apoio
Issac Silva Brand
Malembe
Katuka Africanidades

Realização
ProAC / SP - Programa de Ação Cultura do Estado de São Paulo
Dan Produções
Oxalá Produções

Nairóbi - São Paulo - Salvador / 2020

BWV 232

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.

Fatherless

Fatherless, canción incluida en el álbum "Farsa (género imposible)":
https://umusices.lnk.to/FarsagiID

Una pieza de Silvia Pérez Cruz & Isaki Lacuesta

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

“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

"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.

Weinberg: Cello concerto in d minor op.43

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.

More concerts on : https://www.francemusique.com/concerts

Something More

Róisín Murphy - Something More Live Performance (Ibiza Lockdown), taken from the forthcoming album 'Róisín Machine' out October 2nd.

Director:- Roisin Murphy
Producer:- Phil Tidy c/o Squire
PM Ibiza:- Paul Partridge c/o Loft Studios
DoP:- Bastien Francois
Sound:- Cristina Otero
Editor:- Ben Unwin
Grade:- Jay Creagh
Sound Mix:- Sebi Spanks

Something More:
Written by Amy Douglas/Róisín Murphy/Richard Barratt)
Róisín Murphy (Vocals) Richard Barratt (Producer, Instruments),
David Lewin (Recording Engineer, Instruments, Mix engineer)
Rhianna Kenny (Backing Vocals), Randy Merrill (Mastering Engineer)

Have a nice weekend.

Johann Sebastian Bach: St. John Passion BWV 245

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.

English translation ©Michael Marissen
Japanese translation ©Kazuhiro Fujiwara

Bach Collegium Japan Official Website http://bachcollegiumjapan.org/