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・ Jean-Baptiste de Mirabaud
・ Jean-Baptiste de Mornat
・ Jean-Baptiste de Nompère de Champagny
・ Jean-Baptiste de Poussin
・ Jean-Baptiste de Santeul
・ Jean-Baptiste de Sénac
・ Jean-Baptiste de Villèle
・ Jean-Baptiste de Voglie
・ Jean-Baptiste Debret
・ Jean-Baptiste Defernex
・ Jean-Baptiste Del Amo
・ Jean-Baptiste Delaveyne
・ Jean-Baptiste Delestre
・ Jean-Baptiste Delettrez
・ Jean-Baptiste Abessolo
Jean-Baptiste Accolay
・ Jean-Baptiste Akassou
・ Jean-Baptiste Alexandre Le Blond
・ Jean-Baptiste Alphonse Karr
・ Jean-Baptiste Andrea
・ Jean-Baptiste André Godin
・ Jean-Baptiste André Guillot
・ Jean-Baptiste André Ruault de La Bonnerie
・ Jean-Baptiste Anet
・ Jean-Baptiste Angrignon
・ Jean-Baptiste Annibal Aubert du Bayet
・ Jean-Baptiste Arban
・ Jean-Baptiste Assiginack
・ Jean-Baptiste Audebert
・ Jean-Baptiste Azéma


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Jean-Baptiste Accolay : ウィキペディア英語版
Jean-Baptiste Accolay

Jean-Baptiste Accolay (17 April 1833 – 19 August 1900)〔(Annelies Focquaert. Accolay, Jean-Baptiste ) // Studiecentrum voor Vlaamse Muziek. Some sources, including (Catalogue of the German National Library ), give 1845-1910.〕 was a Belgian violin teacher, violinist, conductor, and composer of the romantic period. His best-known composition is his one-movement student concerto in A minor. It was written in 1868, originally for violin and orchestra.
Accolay's ''Concerto in A minor'' has been played by many well-known violinists, including Itzhak Perlman. The liner notes for Perlman's recording of "Concertos from My Childhood" indicate that there are at least "seven works by the long forgotten French violinist and teacher Jean-Baptiste Accolay, whose concertos (including the one in question) were edited for publication by the Walloon virtuoso Mattieu Crickboom, a protégé of Eugène Ysaÿe, and professor at the Royal Conservatory in Brussels." Accolay's ''Concerto in A minor'' (1868) is "one of the most enduring of all tutorial violin concertos, it is still regularly studied today. Though its executant demands are slight, this agreeably spontaneous piece highlights one of music's great paradoxes - that expressive power often derives from the simplest of technical means."
==References==


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