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Tuesday, April 25, 2017

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


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



18 avril 2017

Mes chers compatriotes,

Dans quelques jours, vous aurez à voter pour choisir le futur président de la République. C’est un choix essentiel pour votre avenir, celui de vos enfants, et pour la France.

L’heure est grave. Jamais je pense une élection présidentielle n’a été aussi déterminante.

Soit nous continuons avec les politiques qui sont menées depuis des années, sur le chemin de la désespérance, du chômage, de l’appauvrissement, de l’immigration, de l’insécurité. Soit nous tournons enfin la page, et nous choisissons de nous redonner un avenir.

Pour les patriotes, pour tous ceux qui veulent mettre le système en échec, il y a une possibilité de l’emporter. C’est en cela aussi que cette élection est historique.

Mais pour ça, pour pouvoir l’emporter le 7 mai prochain, il n’y a qu’un seul vote.

Si vous êtes patriote, il n’y a qu’une seule candidature pour laquelle il faut vous mobiliser, une seule qui ait une chance de l’emporter et de pouvoir enfin rendre à la France ce qu’elle mérite.

Chaque voix compte. Chaque voix sera importante. Nous devons faire au premier tour le score le plus élevé si nous voulons l’emporter au second.

Alors je vous le demande : ne vous dispersez pas, votez utile dès le premier tour. Dès le premier tour, choisissez ma candidature, la seule qui permettra la victoire patriote, la victoire de la France, votre victoire!

Je compte sur vous!

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


Wednesday, April 19, 2017

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














German-American cellist Peter Schmidt plays the Cello Suite No.4 in E flat major, BWV 1010, by Johann Sebastian Bach. Recorded in May 14, 2014 in Granera (Barcelona).



The Six Bach Suites for solo cello may be arranged according to their modern, galant dance movements into three pairs (Nos. 1 and 2 use Minuets, Nos. 3 and 4 Bourrées, and Nos. 5 and 6 Gavottes). They also form two sequences of three in terms of key and mood (major-minor-major), and the Suite in E flat major opens the second group of three. This second group goes beyond the first group of three in its contrapuntal density and in its sense of untrammeled imagination. So we encounter in the opening movement the use of a repetitive arpeggio to build complex phrases, as in the first suite. But here the sense of improvisatory fantasy is stronger: the arpeggio descends in a gradual figure and varies negligibly as it explores a range of keys. Bach alternates this descending arpeggio pattern with three wave-like cadenzas that rise and fall in a faster rhythm and gradually begin to sound more and more like the arpeggio figures, until both emerge in a triumphant E flat major. The broken-up texture and the structural ambition remind one of Bach's large, quasi-improvisatory organ pieces.

This extension and stretching of ideas from the earlier suites pervades the remainder of the fourth suite. The Allemande and Courante have simple lines, like those in the first suite, and the stately Sarabande seems like an optimistic take on its counterpart in the second suite. The Sarabande is noteworthy for its startlingly consistent maintenance of the texture of melody line with harmonic accompaniment – on a single cello! The main section of the double Bourrée seems to implement a call-and-response illusion with a single line, while the second section offers a lovely contrast with a limpid, quiet succession of quarter notes and textural simplicity. The quirky rhythms of the Gigue confirm that this is new ground, deeper in its multi-instrument contrapuntal illusions, more ambitious in scope and depth. And this finale in turn prepares us for the glories of the final two Suites.

Source: James Liu (allmusic.com)



Johann Sebastian Bach (1685-1750)

♪ Cello Suite 
No.4 in E flat major, BWV 1010 (1717-1723)

i. Prelude [00:04]*
ii. Allemande [03:43]
iii. Courante [08:08]
iv. Sarabande [11:44]
v. Bourrée I & II [16:06]
vi. Gigue [21:08]

Peter Schmidt, cello

Granera (Barcelona), May 14, 2014

(HD 720p)

* Start time of each track















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: Chaconne from Partita for Solo Violin No.2, BWV 1004, arr. fof cello – 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


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


Monday, April 17, 2017

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














German-American cellist Peter Schmidt plays the Cello Suite No.3 in C major, BWV 1009, by Johann Sebastian Bach. Recorded in May 14, 2014 in Granera (Barcelona).



The Suite in C major is probably the most popular of Bach's Six Suites for solo cello, among cellists and listeners alike. How could one resist the work's mix of nobility, exuberance, and relative contrapuntal simplicity? Casals, who more than any other performer brought these suites to the forefront of the cello repertory, found in it a heroic quality. Yet this suite also has close ties to its brethren. The Prelude recalls the discursive improvisatory flavor of the second suite, but opens with a descending figure and a mood of bright sunshine instead of the study in tragedy and tension that the second suite undertakes from the beginning. The Prelude also makes brilliant use of a mighty pedal point; a single note is held in the bass register while a series of progressively richer and richer figures build tension, pushing harder and harder for resolution. A similar figure is used to heighten a sense of pathos in the Prelude to the St John Passion. Here, however, the pedal point develops instead into an expression of great warmth and happiness.

After the Prelude come a lively Allemande, a Courante, a Sarabande, a double Bourrée, and a Gigue. The Sarabande proceeds in a series of triple and quadruple stops that offer the cellist plenty of room for gutsy expressiveness and at the same time outline the implied polyphony that so fascinates those who hear these works. For this Suite, as in the Fourth Suite, Bach uses a pair of Bourrées for the galant element. These reinforce the sense of buoyant optimism that pervades the work, though a sudden minor-key turn in the second Bourrée reminds us that no triumph is ever complete. But the final Gigue restores the lightness of this bouncy, virtuosic suite, perhaps the most idiomatic to the cello of all Six Suites.

Source: James Liu (allmusic.com)



Johann Sebastian Bach (1685-1750)

♪ Cello Suite 
No.3 in C major, BWV 1009 (1717-1723)

i. Prelude [00:03]*
ii. Allemande [03:06]
iii. Courante [07:12]
iv. Sarabande [10:19]
v. Bourrée I & II [14:50]
vi. Gigue [18:15]

Peter Schmidt, cello

Granera (Barcelona), May 14, 2014

(HD 720p)

* Start time of each track















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

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


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


Sunday, April 16, 2017

Carlo Gesualdo: Sacrarum Cantionum Liber Primus a 5 voci – Oxford Camerata, Jeremy Summerly (Audio video)






















Don Carlo Gesualdo, Prince of Venosa, Count of Conza, was a murderer; he was also one of the most intriguing composers of his generation. These two statements are necessarily interrelated: the received image of a tortured soul writing idiosyncratic music in the aftermath of his wife's homicide is a powerful one. But to suggest that Gesualdo's evident state of mental unbalance affected his fundamental musical competence is both misleading and unfair.

Gesualdo murdered his wife and her lover in cold blood in 1590. The Prince's public display of the corpses represents the behaviour of a man who was convinced by the morality of his action. When Gesualdo remarried four years later his declining mental state drove his second wife to attempt divorce several times, albeit unsuccessfully. These are the facts that have led some critics to arrive at an unflattering assessment of Gesualdo's artistic achievements. It is regularly asserted that the music is technically unsound and that the composer's renown depends more on a colourful biography than on a legacy of great music. And while Gesualdo's fame will always rely on the documentation of his wife's murder, it is a poor musician who is incapable of recognizing the consistency and competence of Gesualdo's surviving works.

The nineteen five-voice motets in the Sacrae Cantiones represents mixture of styles. Some are unashamedly madrigalian designed for performance by solo voices whereas others are every bit as expansive as any late-Renaissance examples of the genre. Each motet bears the obvious stamp of Gesualdo's individual musical language; even those motets that make minimal use of chromaticism exhibit unusual part-writing which is at best faintly bizarre and at worst baffling. Gesualdo's choice of texts with in the Sacrae Cantiones is similarly self-indulgent favouring motets whose themes embrace sin, death, and guilt. The calculated use of disturbing chromatic sidesteps at phrases such as "miserere mei" (have mercy on me), "Iacrimismeis" (my tears), and "dolormeus" (my sorrow) is self-piteous in the extreme.

It is difficult therefore to empathize with all of Gesualdo's work, peppered as it is with self-conscious mannerisms that are the result of psychological self-torture: it is easy to be blinded by the more superficial elements of the music. But Gesualdo's basic style is as competent as that of Palestrina or Monteverdi; without a sound contrapuntal technique the more extreme gestures would not be as effective as they undoubtedly are. Any early-Baroque composer would surely have been proud to have written the motets "Peccantem me", "Laboravi", or '"O vos omnes", while the still life "O crux benedicta" is an unparalleled model of late Renaissance fluency.

Source: naxos.com



Carlo Gesualdo (1566-1613)

♪ Sacrarum Cantionum Liber Primus a 5 voci (1603)

1. Illumina faciem tuam [00:00]*
2. Deus refugium et virtus [04:25]
3. Exaudi Deus deprecationem meam [06:51]
4. Tribulationem et dolorem [09:36]
5. Tribularer si nescirem [14:33]
6. Precibus et meritis beatae Mariae [18:25]
7. O Crux benedicta [20:42]
8. O vos omnes [25:01]
9. Dignare me laudare te [28:58]
10. Maria mater gratiae [30:58]
11. Laboravi in gemitu meo [34:56]
12. Ave dulcissima Maria [39:16]
13. Domine ne despicias [43:55]
14. Peccantem me quotidie [46:07]
15. Sancti Spiritus Domine [51:32]
16. Hei mihi Domine [53:38]
17. Venit lumen tuum Jerusalem [57:23]
18. Reminiscere miserationum tuarum [1:00:11]
19. Ave Regina coelorum [1:04:06]

Oxford Camerata
Conductor: Jeremy Summerly

Recording: 21-23 September 1992, Chapel of Hertford College, Oxford, England

Naxos 1993

(HD 1080p – Audio video)

* Start time of each track


Cover Painting: The Crucifixion of the Parlement of Paris (c.1452), Wood, 226 x 270 cm, Musée du Louvre, Paris.

This painting – a cross between a polyptych and an altarpiece – was executed for the Grande Chambre of the Parlement of Paris by a painter native of Flanders or the north of France. The frame, forming five lunettes, recalls the compartments of a polyptych. However, the surface of the painting is occupied by a single, united landscape showing the Paris of the time. The unknown painter is referred to as the Master of Dreux Budé.




















See also

Nicolas Gombert: Motets, Vol. II – Beauty Farm (Download 44.1kHz/16bit)

Nicolas Gombert: Motets, Vol. I – Beauty Farm (Download 44.1kHz/16bit)

Johannes Ockeghem: Missa L'homme armé, Missa quinti toni – Beauty Farm (Download 44.1kHz/16bit)


In the Midst of Life. Music from the Baldwin Partbooks I – Contrapunctus, Owen Rees (Audio video)


Antoine Busnoys: For the love of Jaqueline (Medieval love songs) – Sylvia Rhyne, Eric Redlinger (Audio video)


In Nativitate Domine: Festliche Weihnachtsmusik – Emma Kirkby, Susanne Rydén, Annegret Siedel (Audio video)


Heinrich Schütz: Christmas Vespers – Gabrieli Consort & Players, Paul McCreesh (Audio video)