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5 Videos  
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  acordo silencioso - concurso de curtas m...
curta feita para o concurso 4:40 realizada, escrita e montada por henrique branco e rui de freitas actores: pedro acabado rui de freitas curta feita para o concurso 4:40 realizada, escrita e montada por henrique branco e rui de freitas actores: pedro acabado rui de freitas curta feita para o concurso 4:40 realizada, escrita e montada por henrique branco e rui de freitas actores: pedro acabado rui de freitas
  pierre vellones - agénor et philomène
pierre vellones (de son vrai nom pierre rousseau) est un peintre et compositeur français né à paris le 29 mars 1889 et mort à paris le 17 juillet 1939. stravinski autant que ravel le tenait en haute estime ainsi que marguerite long. gabriel pierné, albert wolff, eugène bigot, pedro de freitas-branco dirigèrent ses ?uvres. lily laskine, maxence larrieu, marcel mule, claire croiza, jeanne bathori, pierre bernac, francis poulenc le défendirent. « je crois à la nécessité absolue de rajeunir l'orchestre pour les ?uvres à venir, et cela surtout par trois éléments : saxophone, batterie, martenot ». pierre vellones (de son vrai nom pierre rousseau) est un peintre et compositeur français né à paris le 29 mars 1889 et mort à paris le 17 juillet 1939. stravinski autant que ravel le tenait en haute estime ainsi que marguerite long. gabriel pierné, albert wolff, eugène bigot, pedro de freitas-branco dirigèrent ses ?uvres. lily laskine, maxence larrieu, marcel mule, claire croiza, jeanne bathori, pierre bernac, francis poulenc le défendirent. « je crois à la nécessité absolue de rajeunir l'orchestre pour les ?uvres à venir, et cela surtout par trois éléments : saxophone, batterie, martenot ». pierre vellones (de son vrai nom pierre rousseau) est un peintre et compositeur français né à paris le 29 mars 1889 et mort à paris le 17 juillet 1939. stravinski autant que ravel le tenait en haute estime ainsi que marguerite long. gabriel pierné, albert wolff, eugène bigot, pedro de freitas-branco dirigèrent ses ?uvres. lily laskine, maxence larrieu, marcel mule, claire croiza, jeanne bathori, pierre bernac, francis poulenc le défendirent. « je crois à la nécessité absolue de rajeunir l'orchestre pour les ?uvres à venir, et cela surtout par trois éléments : saxophone, batterie, martenot ».
  maa0708 tangible user interface - instalation
tangible user interface, instalation, design, art, technology, multimédia. universidade de aveiro departamento de comunicação e arte mcmm authors ana filipa martins de sousa ana patricia silva oliveira angela sofia laranjeira da costa bruno andre farinha abrantes catia dos santos gomes pinto joao vasco espinhal otero da costa jorge filipe henriques braz jose pedro costa aleluia saraiva juliana dos anjos freitas da costa margarida carvalho maria da graca agualusa bixirao bilelo marta de sousa ferreirinha paulo valbom pedro miguel de almeida correia rita alexandra silva oliveira rodolfo branco costa rosa mafalda azevedo silva nordeste samuel de jesus almeida sergio rodrigues de almeida simao pedro resende de oliveira guidance mário vairinhos tangible user interface, instalation, design, art, technology, multimédia. universidade de aveiro departamento de comunicação e arte mcmm authors ana filipa martins de sousa ana patricia silva oliveira angela sofia laranjeira da costa bruno andre farinha abrantes catia dos santos gomes pinto joao vasco espinhal otero da costa jorge filipe henriques braz jose pedro costa aleluia saraiva juliana dos anjos freitas da costa margarida carvalho maria da graca agualusa bixirao bilelo marta de sousa ferreirinha paulo valbom pedro miguel de almeida correia rita alexandra silva oliveira rodolfo branco costa rosa mafalda azevedo silva nordeste samuel de jesus almeida sergio rodrigues de almeida simao pedro resende de oliveira guidance mário vairinhos tangible user interface, instalation, design, art, technology, multimédia. universidade de aveiro departamento de comunicação e arte mcmm authors ana filipa martins de sousa ana patricia silva oliveira angela sofia laranjeira da costa bruno andre farinha abrantes catia dos santos gomes pinto joao vasco espinhal otero da costa jorge filipe henriques braz jose pedro costa aleluia saraiva juliana dos anjos freitas da costa margarida carvalho maria da graca agualusa bixirao bilelo marta de sousa ferreirinha paulo valbom pedro miguel de almeida correia rita alexandra silva oliveira rodolfo branco costa rosa mafalda azevedo silva nordeste samuel de jesus almeida sergio rodrigues de almeida simao pedro resende de oliveira guidance mário vairinhos
  marguerite long plays fauré nocturne no....
gabriel fauré (1845-1924); nocturne no. 6 in db major opus 63 marguerite long, piano recorded in 1936. marguerite long (1874 - 1966) margueritte long first studied piano at the nîmes conservatoire and was discovered there at the age of twelve by théodore dubois, who invited her to join the class of henri fissot at the paris conservatoire. in paris she also studied with sophie chéné, and after winning a premier prix joined the class of antoine marmontel (1816--1898), who heard chopin many times and whose pupils included bizet, planté, diémer, albéniz and debussy. long made her paris debut at the salle pleyel, but did not make her orchestral debut in public until 1903 when she performed césar franck's variations symphoniques with the lamoureux orchestra conducted by camille chevillard. it was a great success that was praised by fauré in le figaro. in 1906 she was put in charge of the preparatory classes at the paris conservatoire, and when louis diémer died, she took over his class in 1920. in 1909 long gave an all-fauré recital in paris and in 1919 gave the first performance of ravel's le tombeau de couperin, the toccata of which is dedicated to the memory of her husband joseph de marliave who was killed in world war i. from 1921 long also taught at the École normale de musique and gave master-classes on the works of fauré and debussy. long also gave the first performance of ravel's piano concerto in g major which the composer dedicated to her. in 1941 long retired from the paris conservatoire and opened her own music school, the École marguerite long-jacques thibaud and within a few years had also instigated the marguerite long-jacques thibaud competition. long was an important figure in french musical life during the first half of the twentieth century. her pupils include samson françois, yvonne lefébure and jacques février and her writings include au piano avec claude debussy, au piano avec gabriel fauré, au piano avec ravel (with pierre laumonier) and la petite méthode de piano. she had many compositions dedicated to her including works by gabriel fauré, ernesto halffter, darius milhaud, francis poulenc, erik satie and déodat de séverac, and gave first performances of works by fauré and debussy. however, her reputation as a teacher and person is clouded by the disagreements she had with many people. after forming a close relationship with gabriel fauré and presenting herself as his leading interpreter, long apparently fell out with him over a teaching post she wanted at the paris conservatoire. later fauré was to say that she was '...a shameless woman who uses my name to get on'. however, he also wrote to her: gabriel fauré (1845-1924); nocturne no. 6 in db major opus 63 marguerite long, piano recorded in 1936. marguerite long (1874 - 1966) margueritte long first studied piano at the nîmes conservatoire and was discovered there at the age of twelve by théodore dubois, who invited her to join the class of henri fissot at the paris conservatoire. in paris she also studied with sophie chéné, and after winning a premier prix joined the class of antoine marmontel (1816--1898), who heard chopin many times and whose pupils included bizet, planté, diémer, albéniz and debussy. long made her paris debut at the salle pleyel, but did not make her orchestral debut in public until 1903 when she performed césar franck's variations symphoniques with the lamoureux orchestra conducted by camille chevillard. it was a great success that was praised by fauré in le figaro. in 1906 she was put in charge of the preparatory classes at the paris conservatoire, and when louis diémer died, she took over his class in 1920. in 1909 long gave an all-fauré recital in paris and in 1919 gave the first performance of ravel's le tombeau de couperin, the toccata of which is dedicated to the memory of her husband joseph de marliave who was killed in world war i. from 1921 long also taught at the École normale de musique and gave master-classes on the works of fauré and debussy. long also gave the first performance of ravel's piano concerto in g major which the composer dedicated to her. in 1941 long retired from the paris conservatoire and opened her own music school, the École marguerite long-jacques thibaud and within a few years had also instigated the marguerite long-jacques thibaud competition. long was an important figure in french musical life during the first half of the twentieth century. her pupils include samson françois, yvonne lefébure and jacques février and her writings include au piano avec claude debussy, au piano avec gabriel fauré, au piano avec ravel (with pierre laumonier) and la petite méthode de piano. she had many compositions dedicated to her including works by gabriel fauré, ernesto halffter, darius milhaud, francis poulenc, erik satie and déodat de séverac, and gave first performances of works by fauré and debussy. however, her reputation as a teacher and person is clouded by the disagreements she had with many people. after forming a close relationship with gabriel fauré and presenting herself as his leading interpreter, long apparently fell out with him over a teaching post she wanted at the paris conservatoire. later fauré was to say that she was '...a shameless woman who uses my name to get on'. however, he also wrote to her: gabriel fauré (1845-1924); nocturne no. 6 in db major opus 63 marguerite long, piano recorded in 1936. marguerite long (1874 - 1966) margueritte long first studied piano at the nîmes conservatoire and was discovered there at the age of twelve by théodore dubois, who invited her to join the class of henri fissot at the paris conservatoire. in paris she also studied with sophie chéné, and after winning a premier prix joined the class of antoine marmontel (1816--1898), who heard chopin many times and whose pupils included bizet, planté, diémer, albéniz and debussy. long made her paris debut at the salle pleyel, but did not make her orchestral debut in public until 1903 when she performed césar franck's variations symphoniques with the lamoureux orchestra conducted by camille chevillard. it was a great success that was praised by fauré in le figaro. in 1906 she was put in charge of the preparatory classes at the paris conservatoire, and when louis diémer died, she took over his class in 1920. in 1909 long gave an all-fauré recital in paris and in 1919 gave the first performance of ravel's le tombeau de couperin, the toccata of which is dedicated to the memory of her husband joseph de marliave who was killed in world war i. from 1921 long also taught at the École normale de musique and gave master-classes on the works of fauré and debussy. long also gave the first performance of ravel's piano concerto in g major which the composer dedicated to her. in 1941 long retired from the paris conservatoire and opened her own music school, the École marguerite long-jacques thibaud and within a few years had also instigated the marguerite long-jacques thibaud competition. long was an important figure in french musical life during the first half of the twentieth century. her pupils include samson françois, yvonne lefébure and jacques février and her writings include au piano avec claude debussy, au piano avec gabriel fauré, au piano avec ravel (with pierre laumonier) and la petite méthode de piano. she had many compositions dedicated to her including works by gabriel fauré, ernesto halffter, darius milhaud, francis poulenc, erik satie and déodat de séverac, and gave first performances of works by fauré and debussy. however, her reputation as a teacher and person is clouded by the disagreements she had with many people. after forming a close relationship with gabriel fauré and presenting herself as his leading interpreter, long apparently fell out with him over a teaching post she wanted at the paris conservatoire. later fauré was to say that she was '...a shameless woman who uses my name to get on'. however, he also wrote to her:
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