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Date
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2019-09-30
192.185.223.128
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2025-01-21
3.233.55.233
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HTTP/1.1 301 Moved PermanentlyServer: awselb/2.0Date: Tue, 21 Jan 2025 03:48:28 GMTContent-Type: text/htmlContent-Length: 134Connection: keep-aliveLocation: https://lanzelotte.com:443/ html>head>title>301 Moved Permanently/title>/head>body>center>h1>301 Moved Permanently/h1>/center>/body>/html>
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HTTP/1.1 200 OKDate: Tue, 21 Jan 2025 03:48:30 GMTContent-Type: text/html; charsetUTF-8Transfer-Encoding: chunkedConnection: keep-aliveServer: Apache/2.4.29 (Ubuntu)Link: https://lanzelotte.com/wp-json/>; relhttps://api.w.org/Link: https://wp.me/P8ncC2-D>; relshortlinkVary: Accept-Encoding !DOCTYPE html>html langpt-BR classno-js>head> meta charsetUTF-8> meta nameviewport contentwidthdevice-width, initial-scale1, maximum-scale1, user-scalable0 />title>Rosana Lanzelotte/title>link reldns-prefetch href//secure.gravatar.com />link reldns-prefetch href//fonts.googleapis.com />link reldns-prefetch href//s.w.org />link relalternate typeapplication/rss+xml titleFeed para Rosana Lanzelotte » hrefhttps://lanzelotte.com/feed/ /> script typetext/javascript> window._wpemojiSettings {baseUrl:https:\/\/s.w.org\/images\/core\/emoji\/12.0.0-1\/72x72\/,ext:.png,svgUrl:https:\/\/s.w.org\/images\/core\/emoji\/12.0.0-1\/svg\/,svgExt:.svg,source:{concatemoji:https:\/\/lanzelotte.com\/wp-includes\/js\/wp-emoji-release.min.js?ver5.4}}; /*! 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namegenerator contentWordPress 5.4 />link relcanonical hrefhttps://lanzelotte.com/ />link relshortlink hrefhttps://wp.me/P8ncC2-D />link relalternate typeapplication/json+oembed hrefhttps://lanzelotte.com/wp-json/oembed/1.0/embed?urlhttps%3A%2F%2Flanzelotte.com%2F />link relalternate typetext/xml+oembed hrefhttps://lanzelotte.com/wp-json/oembed/1.0/embed?urlhttps%3A%2F%2Flanzelotte.com%2F&formatxml />link reldns-prefetch href//v0.wordpress.com/>link reldns-prefetch href//i0.wp.com/>link reldns-prefetch href//i1.wp.com/>link reldns-prefetch href//i2.wp.com/>style typetext/css>img#wpstats{display:none}/style>script typetext/javascript> var root document.getElementsByTagName( html )0; root.setAttribute( class, js ); /script>meta namegenerator contentPowered by WPBakery Page Builder - drag and drop page builder for WordPress./>!-- Jetpack Open Graph Tags -->meta propertyog:type contentwebsite />meta propertyog:title contentRosana Lanzelotte />meta propertyog:url contenthttps://lanzelotte.com/ />meta propertyog:site_name contentRosana Lanzelotte />meta propertyog:image contenthttps://lanzelotte.com/wp-content/uploads/2013/01/Rosana-dois-teclados-1024-300x291.jpg />meta propertyog:image:secure_url contenthttps://i0.wp.com/lanzelotte.com/wp-content/uploads/2013/01/Rosana-dois-teclados-1024-300x291.jpg?ssl1 />meta propertyog:image:width content300 />meta propertyog:image:height content291 />meta propertyog:locale contentpt_BR />meta nametwitter:text:title contentA Cravista />meta nametwitter:image contenthttps://lanzelotte.com/wp-content/uploads/2013/01/Rosana-dois-teclados-1024-300x291.jpg?w1400 />meta nametwitter:card contentsummary_large_image />meta nametwitter:description contentVisite o post para mais. />!-- End Jetpack Open Graph Tags -->noscript>style> .wpb_animate_when_almost_visible { opacity: 1; }/style>/noscript> /head>body classhome page-template-default page page-id-39 material wpb-js-composer js-comp-ver-6.1 vc_responsive data-footer-revealfalse data-footer-reveal-shadownone data-header-formatmenu-left-aligned data-body-borderoff data-boxed-style data-header-breakpoint1000 data-dropdown-styleminimal data-caeeaseOutCubic data-cad750 data-megamenu-widthcontained data-aienone data-lsfancybox data-aptestandard data-hhun0 data-fancy-form-rcsdefault data-form-styledefault data-form-submitregular data-isminimal data-button-styleslightly_rounded_shadow data-user-account-buttonfalse data-flex-colstrue data-col-gapdefault data-header-inherit-rcfalse data-header-searchtrue data-animated-anchorstrue data-ajax-transitionsfalse data-full-width-headerfalse data-slide-out-widget-areatrue data-slide-out-widget-area-styleslide-out-from-right data-user-set-ocmoff data-loading-animationnone data-bg-headertrue data-responsive1 data-ext-responsivetrue data-header-resize1 data-header-colorcustom data-transparent-headerfalse data-cartfalse data-remove-m-parallax data-remove-m-video-bgs data-force-header-trans-colorlight data-smooth-scrolling0 data-permanent-transparentfalse > script typetext/javascript> if(navigator.userAgent.match(/(Android|iPod|iPhone|iPad|BlackBerry|IEMobile|Opera Mini)/)) { document.body.className + using-mobile-browser ; } /script>div classocm-effect-wrap>div classocm-effect-wrap-inner> div idheader-space data-header-mobile-fixed1>/div> div idheader-outer data-has-menutrue data-has-buttonsyes data-using-pr-menutrue data-mobile-fixed1 data-ptnmfalse data-lheanimated_underline data-user-set-bg#ffffff data-formatmenu-left-aligned data-permanent-transparentfalse data-megamenu-rt0 data-remove-fixed0 data-header-resize1 data-cartfalse data-transparency-option0 data-box-shadowlarge data-shrink-num6 data-using-secondary0 data-using-logo0 data-logo-height30 data-m-logo-height24 data-padding28 data-full-widthfalse data-condensefalse > div idsearch-outer classnectar> div idsearch> div classcontainer> div idsearch-box> div classinner-wrap> div classcol span_12> form rolesearch actionhttps://lanzelotte.com/ methodGET> input typetext names value placeholderSearch /> span>Hit enter to search or ESC to close/span> /form> /div>!--/span_12--> /div>!--/inner-wrap--> /div>!--/search-box--> div idclose>a href#> span classclose-wrap> span classclose-line close-line1>/span> span classclose-line close-line2>/span> /span> /a>/div> /div>!--/container--> /div>!--/search-->/div>!--/search-outer-->header idtop> div classcontainer> div classrow> div classcol span_3> a idlogo hrefhttps://lanzelotte.com data-supplied-ml-starting-darkfalse data-supplied-ml-startingfalse data-supplied-mlfalse classno-image> Rosana Lanzelotte /a> /div>!--/span_3--> div classcol span_9 col_last> a classmobile-search href#searchbox>span classnectar-icon icon-salient-search aria-hiddentrue>/span>/a> div classslide-out-widget-area-toggle mobile-icon slide-out-from-right data-icon-animationsimple-transform> div> a href#sidewidgetarea aria-labelNavigation Menu aria-expandedfalse classclosed> span aria-hiddentrue> i classlines-button x2> i classlines>/i> /i> /span> /a>/div> /div> nav> ul classsf-menu> li idmenu-item-747 classmenu-item menu-item-type-post_type menu-item-object-page menu-item-home current-menu-item page_item page-item-39 current_page_item menu-item-747>a hrefhttps://lanzelotte.com/ aria-currentpage>A Cravista/a>/li>li idmenu-item-467 classmenu-item menu-item-type-post_type menu-item-object-page menu-item-has-children menu-item-467>a hrefhttps://lanzelotte.com/galeria-de-video/>Vídeos/a>ul classsub-menu> li idmenu-item-856 classmenu-item menu-item-type-post_type menu-item-object-page menu-item-856>a hrefhttps://lanzelotte.com/galeria-de-video/repertorio/>Repertório em Vídeo/a>/li> li idmenu-item-854 classmenu-item menu-item-type-post_type menu-item-object-page menu-item-854>a hrefhttps://lanzelotte.com/galeria-de-video/videos-diversos-autores/>Vídeos – diversos autores/a>/li> li idmenu-item-855 classmenu-item menu-item-type-post_type menu-item-object-page 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hrefhttps://lanzelotte.com/projetos/projeto-rio-musica/>Projeto Rio Música/a>/li> li idmenu-item-740 classmenu-item menu-item-type-post_type menu-item-object-page menu-item-740>a hrefhttps://lanzelotte.com/projetos/interagir-tocar-ouvir-criar/>Interagir: tocar, ouvir, criar/a>/li>/ul>/li>li idmenu-item-796 classmenu-item menu-item-type-taxonomy menu-item-object-category menu-item-796>a hrefhttps://lanzelotte.com/category/clipping/>Clipping/a>/li> /ul> /nav> /div>!--/span_9--> div classright-aligned-menu-items> nav> ul classbuttons sf-menu data-user-set-ocmoff> li idmenu-item-896 classmenu-item menu-item-type-post_type menu-item-object-page menu-item-896>a hrefhttps://lanzelotte.com/la-claveciniste/>FR/a>/li>li idmenu-item-897 classmenu-item menu-item-type-post_type menu-item-object-page menu-item-897>a hrefhttps://lanzelotte.com/the-harpsichord-player/>EN/a>/li>li idsearch-btn>div>a href#searchbox>span classicon-salient-search aria-hiddentrue>/span>/a>/div> /li> /ul> ul>li idsocial-in-menu classbutton_social_group>a target_blank hrefhttps://twitter.com/rolanzelotte>i classfa fa-twitter>/i> /a>a target_blank hrefhttps://www.facebook.com/lanzelotte>i classfa fa-facebook>/i> /a>a target_blank hrefhttps://www.youtube.com/user/rosanalanzelotte>i classfa fa-youtube-play>/i> /a>a target_blank hrefhttps://www.instagram.com/rosanalanzelotte/>i classfa fa-instagram>/i> /a>a target_blank hrefhttps://open.spotify.com/artist/2ICIftO5D2JUyQmIxfh81Y?siz5wykPXUTF-3kWJBBZRbLQ>i classicon-salient-spotify>/i> /a>/li>/ul> /nav> /div>!--/right-aligned-menu-items--> /div>!--/row--> /div>!--/container--> /header> /div> div idajax-content-wrap> div idpage-header-wrap data-animate-in-effectnone data-midnightlight class styleheight: 600px;>div idpage-header-bg classnot-loaded data-padding-amthigh data-animate-in-effectnone data-midnightlight data-text-effectrotate_in data-bg-postop data-alignmentleft data-alignment-vmiddle data-parallax1 data-height600 stylebackground-color: #000; height:600px;> div classpage-header-bg-image-wrap idnectar-page-header-p-wrap data-parallax-speedmedium> div classpage-header-bg-image stylebackground-image: url(https://lanzelotte.com/wp-content/uploads/2020/04/Carlos_Peder_3_1-e1586357290406.jpg);>/div> /div> div classcontainer> div classrow> div classcol span_6 empty-title> div classinner-wrap> span classsubheader>/span> /div> /div> /div> /div>/div>/div>div classcontainer-wrap> div classcontainer main-content> div classrow> div idfws_678f190e50790 data-column-margindefault data-midnightdark data-bg-mobile-hidden classwpb_row vc_row-fluid vc_row standard_section stylepadding-top: 25px; padding-bottom: 0px; >div classrow-bg-wrap data-bg-animationnone data-bg-overlayfalse>div classinner-wrap>div classrow-bg style>/div>/div>div classrow-bg-overlay >/div>/div>div classcol span_12 dark left> div classvc_col-sm-12 wpb_column column_container vc_column_container col no-extra-padding data-t-w-inheritsdefault data-border-radiusnone data-shadownone data-border-animation data-border-animation-delay data-border-widthnone data-border-stylesolid data-border-color data-bg-cover data-padding-posall data-has-bg-colorfalse data-bg-color data-bg-opacity1 data-hover-bg data-hover-bg-opacity1 data-animation data-delay0 > div classvc_column-inner >div classcolumn-bg-overlay-wrap data-bg-animationnone>div classcolumn-bg-overlay>/div>/div> div classwpb_wrapper> div classwpb_text_column wpb_content_element wpb_animate_when_almost_visible wpb_fadeInDown fadeInDown > div classwpb_wrapper> p>Rosana Lanzelotte destaca-se pela originalidade de suas iniciativas. Registrou em CD desde obras raras de Bach e Haydn até as sonatas inéditas do português Avondano e peças brasileiras para cravo. Resgatou as obras de Sigismund Neukomm que inauguram o repertório de música de câmara no país, por ela registradas – ao lado de Ricardo Kanji (flauta) – no CD Neukomm no Brasil (Biscoito Fino). Um dos cinco nominados para o Latin Grammy em 2009, o CD recebeu o V Prêmio Bravo./p>p>a hrefhttps://i1.wp.com/lanzelotte.com/wp-content/uploads/2013/01/Rosana-dois-teclados-1024.jpg?ssl1>img classalignright titleRosana Lanzelotte srchttps://i1.wp.com/lanzelotte.com/wp-content/uploads/2013/01/Rosana-dois-teclados-1024.jpg?resize300%2C291&ssl1 alt width300 height291 data-recalc-dims1 />/a>É autora do livro “Sigismund Neukomm, Música Secreta – Minha Viagem ao Brasil”, lançado em 2009 pela editora Arteensaio./p>p>Doutora em Informática, criou o portal a hrefhttps://www.musicabrasilis.org.br target_blank relnoopener noreferrer>www.musicabrasilis.org.br/a> que disponibiliza partituras e jogos em torno dos repertórios brasileiros de todos os tempos. Com cerca de 15000 acessos mensais e mais de 1500 partituras de cerca de 300 compositores de todos os tempos e gêneros, o portal tornou-se uma referência da música brasileira./p>p>A partir dos conteúdos do portal, Rosana idealizou as exposições interativas “Musica Brasilis – 5 séculos de música brasileira”, já realizadas em diversos espaços do Rio de Janeiro e no Centro Cultural Banco do Brasil – Belo Horizonte./p>p>Suas realizações a fizeram merecedora do prêmio Golfinho de Ouro, concedido em 2002 pelo Conselho Estadual de Cultura do Rio, e da comenda em>Chevalier des Arts et des Lettres/em>, outorgada em 2006 pelo Governo francês./p> /div>/div>div classcol span_12 section-title text-align-center extra-padding>h2>h3>O que dizem os críticos:/h3>/h2>/div>div classclear>/div> /div> /div> /div> /div>/div> div idfws_678f190e5153a data-column-margindefault data-midnightdark data-bg-mobile-hidden classwpb_row vc_row-fluid vc_row standard_section stylepadding-top: 0px; padding-bottom: 0px; >div classrow-bg-wrap data-bg-animationnone data-bg-overlayfalse>div classinner-wrap>div classrow-bg style>/div>/div>div classrow-bg-overlay >/div>/div>div classcol span_12 dark left> div classvc_col-sm-6 wpb_column column_container vc_column_container col no-extra-padding data-t-w-inheritsdefault data-border-radiusnone data-shadownone data-border-animation data-border-animation-delay data-border-widthnone data-border-stylesolid data-border-color data-bg-cover data-padding-posall data-has-bg-colorfalse data-bg-color data-bg-opacity1 data-hover-bg data-hover-bg-opacity1 data-animation data-delay0 > div classvc_column-inner >div classcolumn-bg-overlay-wrap data-bg-animationnone>div classcolumn-bg-overlay>/div>/div> div classwpb_wrapper> blockquote classnectar_single_testimonial data-color data-stylebasic>div classinner> p>“A cravista Rosana Lanzelotte consegue a façanha rara de mostrar um novo e consistente compositor português do século XVIII.” /p>span classwrap>span>Luís Antônio Giron/span>span classtitle>Revista Diapason, março de 2006/span>/span>/div>/blockquote>blockquote classnectar_single_testimonial data-color data-stylebasic>div classinner> p>“Filho de um violinista genovês ao serviço do Rei D. João V, Pedro António Avondano nasceu e morreu em Lisboa e aprendeu com o pai o ofício de músico, tal como era comum acontecer no século XVIII. Tornou-se um instrumentista exímio e influente da Real Câmara, além de compositor e produtor de saraus e bailes. Rosana Lanzelotte, cravista brasileira, decidiu resgatá-lo à obscuridade e registar as suas Sonatas para tecla. Fê-lo com a entrega que os antiquários dedicam às peças antigas. Polidas, estilizadas, detalhadamente trabalhadas, estas seis obras podem ser ouvidas de seguida, tal é a sua concisão e luminosa elegância.” /p>span classwrap>span>Expresso, Jornal on-line português/span>span classtitle>sobre o CD Avondano/span>/span>/div>/blockquote>blockquote classnectar_single_testimonial data-color data-stylebasic>div classinner> p>“As obras em si, típicas do gosto rococó e do estilo galante, com ocasional retórica expressiva, sobressaem precisamente pelos ´high spirits´ que cultivam, já que assim melhor salientam as qualidades do instrumento, quer no jogo cheio e poderoso, quer no mais suave, ligado e delicado; ou ainda na rapidez de execução e na profusão da ornamentação, traços todos eles bem ´puxados´ na interpretação de Lanzelotte.” /p>span classwrap>span>Bernardo Mariano/span>span classtitle>sobre o CD Avondano - Jornal Diário de Notícias (Lisboa, Portugal) - 24/6/2005/span>/span>/div>/blockquote>blockquote classnectar_single_testimonial data-color data-stylebasic>div classinner> p>“Lanzelotte – que tem a virtude rara de tocar música contemporânea no instrumento antigo – faz do venerável Haydn, mais uma vez, um nome novo da nossa memória.” /p>span classwrap>span>Arthur Nestrovski/span>span classtitle>Folha de São Paulo – SP/span>/span>/div>/blockquote>blockquote classnectar_single_testimonial data-color data-stylebasic>div classinner> p>“Álbum de Rosana Lanzelotte exibe riqueza melódica de Joseph Haydn – além da importância desta obra de Haydn, destaca-se a interpretação desta brilhante e versátil cravista.” /p>span classwrap>span>Irineu Guerrini Jr./span>span classtitle>Revista Bravo – SP/span>/span>/div>/blockquote>blockquote classnectar_single_testimonial data-color data-stylebasic>div classinner> p>“A cada compasso de “As Sete Últimas Palavras de Nosso Redentor na Cruz” se sublinha porque Rosana Lanzelotte se inclui entre os maiores cravistas que o Brasil já produziu.” /p>span classwrap>span>Arnaldo Lorençato/span>span classtitle>Gazeta Mercantil – SP/span>/span>/div>/blockquote> /div> /div> /div> div classvc_col-sm-6 wpb_column column_container vc_column_container col no-extra-padding data-t-w-inheritsdefault data-border-radiusnone data-shadownone data-border-animation data-border-animation-delay data-border-widthnone data-border-stylesolid data-border-color data-bg-cover data-padding-posall data-has-bg-colorfalse data-bg-color data-bg-opacity1 data-hover-bg data-hover-bg-opacity1 data-animation data-delay0 > div classvc_column-inner >div classcolumn-bg-overlay-wrap data-bg-animationnone>div classcolumn-bg-overlay>/div>/div> div classwpb_wrapper> blockquote classnectar_single_testimonial data-color data-stylebasic>div classinner> p>“Rosana Lanzelotte, a maior cravista brasileira, acaba de lançar em CD a versão para seu instrumento dos sete adágios compostos por Joseph Haydn.” /p>span classwrap>span>Roger Lerina/span>span classtitle>Zero Hora – Porto Alegre/span>/span>/div>/blockquote>blockquote classnectar_single_testimonial data-color data-stylebasic>div classinner> p>“A segurança e o tom firme não excluindo a graça, esta última apareceu como uma dominante nas interpretações em um programa diversificado e atraente.” /p>span classwrap>span>Georges Gallician/span>span classtitle>Le Méridional, Marselha/span>/span>/div>/blockquote>blockquote classnectar_single_testimonial data-color data-stylebasic>div classinner> p>“Rosana Lanzelotte é uma das maiores cravistas da atualidade. Seu trabalho transcende o paroquialismo da cena brasileira, pela técnica e pela expressão de suas abordagens.” /p>span classwrap>span>Luís Antônio Giron/span>span classtitle>Gazeta Mercantil, São Paulo/span>/span>/div>/blockquote>blockquote classnectar_single_testimonial data-color data-stylebasic>div classinner> p>“Rosana, aqui, brilha duas vezes: com a execução magistral e com a boa idéia que foi seduzir compositores modernos a escrever para o cravo. Um CD que já nasce antológico.” /p>span classwrap>span>Luiz Paulo Horta/span>span classtitle>O Globo, Rio de Janeiro/span>/span>/div>/blockquote>blockquote classnectar_single_testimonial data-color data-stylebasic>div classinner> p>“Eis uma artista inteiramente afinada com os diferentes estilos dos compositores que aborda. Sua interpretação mostra completa confiança, distinção e técnica superlativa.” /p>span classwrap>span>Geoffrey Crankshaw/span>span classtitle>Musical Opinion, Londres/span>/span>/div>/blockquote>blockquote classnectar_single_testimonial data-color data-stylebasic>div classinner> p>““Em todos os compassos há a presença de uma artista de primeira ordem. Rosana Lanzelotte é dona absoluta do teclado e o faz cantar com enorme requinte”” /p>span classwrap>span>J. 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Sonata K. 56 titleDomenico Scarlatti - Sonata K. 56> div classyotu-video-thumb-wrp> div> img classyotu-video-thumb srchttps://i.ytimg.com/vi/DbUbqUk1kRI/sddefault.jpg altDomenico Scarlatti - Sonata K. 56> /div> /div> h3 classyotu-video-title>Domenico Scarlatti - Sonata K. 56/h3> div classyotu-video-description>Rosana Lanzelotte (cravo)br />br />Cravo cópia de Blanchet, construído por César Guidini, ornamentado com reprodução da aquarela de Nicola Facchinetti: Lagoa Rodrigo de Freitas.br />br />Gravado ao vivo na Casa Museu Eva Klabin (Rio de Janeiro) em 23/06/2021/div> /a> /li> li class> a href#XPGcsnOfHaw classyotu-video data-videoidXPGcsnOfHaw data-titleDomenico Scarlatti - Sonata K. 141 titleDomenico Scarlatti - Sonata K. 141> div classyotu-video-thumb-wrp> div> img classyotu-video-thumb srchttps://i.ytimg.com/vi/XPGcsnOfHaw/sddefault.jpg altDomenico Scarlatti - Sonata K. 141> /div> /div> h3 classyotu-video-title>Domenico Scarlatti - Sonata K. 141/h3> div classyotu-video-description>Rosana Lanzelotte (cravo)br />br />Cravo cópia de Blanchet, construído por César Guidini, ornamentado com reprodução da aquarela de Nicola Facchinetti: Lagoa Rodrigo de Freitas.br />br />Gravado ao vivo na Casa Museu Eva Klabin (Rio de Janeiro) em 23/06/2021/div> /a> /li> li class> a href#_ZCW8Ncwh94 classyotu-video data-videoid_ZCW8Ncwh94 data-titleJ. Haydn (1732 - 1809) - Il Terremoto, de As Sete Últimas Palavras de Cristo na Cruz titleJ. Haydn (1732 - 1809) - Il Terremoto, de As Sete Últimas Palavras de Cristo na Cruz> div classyotu-video-thumb-wrp> div> img classyotu-video-thumb srchttps://i.ytimg.com/vi/_ZCW8Ncwh94/sddefault.jpg altJ. Haydn (1732 - 1809) - Il Terremoto, de As Sete Últimas Palavras de Cristo na Cruz> /div> /div> h3 classyotu-video-title>J. Haydn (1732 - 1809) - Il Terremoto, de As Sete Últimas Palavras de Cristo na Cruz/h3> div classyotu-video-description>Joseph Haydn (1732 – 1809) já era um compositor famoso, aos 53 anos, quando recebeu a inusitada encomenda da Igreja de Cadiz (Espanha): escrever música que ilustrasse as “sete últimas palavras de Cristo na Cruz”, num soleníssimo serviço religioso para a Sexta-Feira Santa. br />br />A obra foi executada na igreja toda revestida de preto, o bispo proferia cada uma das sete frases, seguida de um pequeno sermão, após o que uma das sonatas era tocada. São sete adágios, precedidos de uma introdução e seguidos por um “terremoto” final. br />br />Como o próprio Haydn disse, “a tarefa de escrever sete adágios, de cerca de dez minutos, seguindo-se um ao outro, sem cansar os ouvintes, não era das mais fáceis”. Talvez isso possa explicar as múltiplas versões da obra. Ela foi escrita originalmente para orquestra, com instrumentação variada: cordas, duas flautas, dois oboés, dois fagotes, dois trompetes, quatro trompas e percussão. Dois anos mais tarde, Haydn arranjou-a para quarteto de cordas - talvez a versão mais popular nos dias de hoje. O próprio Haydn a dirigiu diversas vezes, inclusive em sua última aparição pública, em 26 de dezembro de 1803.br />br />Para ouvir na íntegra: https://spoti.fi/43fiy47br />br />“Rosana Lanzelotte - que tem a virtude rara de tocar música contemporânea no instrumento antigo – faz do venerável Haydn, mais uma vez, um nome novo da nossa memória”br />(Arthur Nestrovski - Folha de São Paulo - SP, 5/2/2003)/div> /a> /li> li class> a href#aK0XZkzDeNg classyotu-video data-videoidaK0XZkzDeNg data-titleJ.S.Bach - Concerto de Brandenburgo nº 5 titleJ.S.Bach - Concerto de Brandenburgo nº 5> div classyotu-video-thumb-wrp> div> img classyotu-video-thumb srchttps://i.ytimg.com/vi/aK0XZkzDeNg/hqdefault.jpg altJ.S.Bach - Concerto de Brandenburgo nº 5> /div> /div> h3 classyotu-video-title>J.S.Bach - Concerto de Brandenburgo nº 5/h3> div classyotu-video-description>Solista: Rosana Lanzelottebr />Orquestra Johann Sebastian Rio, direção Felipe Prazeresbr />br />Os Concertos de Brandenburgo (BWV 1046-1051, título original: Six Concerts avec plusieurs instruments, em alemão: Brandenburgische Konzerte) são uma coleção de seis peças musicais composta por Johann Sebastian Bach entre 1718 - 1721, dedicados e apresentados a Cristóvão Ludovico de Brandemburgo-Schwedt em 1721. br />br />O Concerto No. 5 em Ré maior, BWV 1050, tem 3 movimentos. Acredita-se que o concerto foi escrito em 1719, para mostrar um novo cravo de Michael Mietke que Bach havia trazido de Berlim para a corte de Köthen. Também se pensa que foi escrito para uma competição em Dresden com o compositor e organista francês Louis Marchand; no movimento central Bach usa um dos temas de Marchand. Marchand deixou a competição antes que ela pudesse acontecer, aparentemente amedrontado com a grande reputação de Bach para o virtuosismo e improvisação.br />br />Todo o concerto é bem adequado para mostrar as qualidades de um bom cravo e a virtuosidade de seu intérprete, mas especialmente na longa cadenza do primeiro movimento. Parece quase certo que Bach, um grande organista e virtuoso cravista, tenha sido o cravista na estreia. Estudiosos tem visto essa obra como o primeiro exemplo de concerto com uma parte solo para um instrumento de teclado./div> /a> /li> li class> a href#RFwepnGzzNA classyotu-video data-videoidRFwepnGzzNA data-titleD. Pedro I e a música da Independência titleD. Pedro I e a música da Independência> div classyotu-video-thumb-wrp> div> img classyotu-video-thumb srchttps://i.ytimg.com/vi/RFwepnGzzNA/sddefault.jpg altD. Pedro I e a música da Independência> /div> /div> h3 classyotu-video-title>D. Pedro I e a música da Independência/h3> div classyotu-video-description>Governo do Estado do Rio de Janeiro, Secretaria de Estado de Cultura e Economia Criativa do Rio de Janeiro, através do Edital Retomada Cultural RJ2 e Prefeitura da Cidade do Rio de Janeiro, Secretaria Municipal de Cultura apresentam: br />br />D. Pedro I e a música da Independência (making of)br />br />#SececRJ, #CulturaPresente #RetomadaCulturalRJ2/div> /a> /li> li class> a href#UdP4IR3wVAs classyotu-video data-videoidUdP4IR3wVAs data-titleJohann Sebastian Bach - Concerto BWV 1065 titleJohann Sebastian Bach - Concerto BWV 1065> div classyotu-video-thumb-wrp> div> img classyotu-video-thumb srchttps://i.ytimg.com/vi/UdP4IR3wVAs/sddefault.jpg altJohann Sebastian Bach - Concerto BWV 1065> /div> /div> h3 classyotu-video-title>Johann Sebastian Bach - Concerto BWV 1065/h3> div classyotu-video-description>Cravos: Rosana Lanzelotte, Olivier Baumont, Marcelo Fagerlande, Cristiano Gaudiobr />Cordas: Felipe Prazeres (violino), Marco Catto (viola), Marcus Ribeiro (cello), Rodrigo Favaro (contrabaixo). br />Participação especial: Julien Chauvin (violino)br />br />Gravado ao vivo na Sala Cecília Meireles - 30/8/2019br />Festival Baroque in Rio - patrocínio Consulado Francês no Rio de Janeiro/div> /a> /li> li class> a href#PuS1aCuo0DE classyotu-video data-videoidPuS1aCuo0DE data-titleJohann Sebastian Bach - Concerto BWV 1052 titleJohann Sebastian Bach - Concerto BWV 1052> div classyotu-video-thumb-wrp> div> img classyotu-video-thumb srchttps://i.ytimg.com/vi/PuS1aCuo0DE/sddefault.jpg altJohann Sebastian Bach - Concerto BWV 1052> /div> /div> h3 classyotu-video-title>Johann Sebastian Bach - Concerto BWV 1052/h3> div classyotu-video-description>Rosana Lanzelotte (cravo)br />Johann Sebastian Riobr />Regência; Felipe Prazeresbr />Gravado na Sala Cecília Meireles, 20/10/2020br />br />This concerto, composed during Johann Sebastian Bachs Cöthen period, is thought to be based on a lost violin concerto. It is clear from the manuscript notation that the concerto was composed for the two manuals of the harpsichord, but it is frequently performed on the single keyboard of the modern piano. The piece is composed in three movements; the first one was later used by Bach as an organ prelude, and the slow movement became the first chorus of his Cantata No. 146, Wir müssen durch viel Trübsal.br />br />Like most of Bachs instrumental concertos, this work employs the Italian ritornello form. The ritornello of the first movement is a driving six-bar unison theme whose opening five notes form the foundation for the majority of the movement. The themes power stems from its ever-expanding leaps and its emphatic closing cadence. Most of the soloists passages are derived from this theme, but Bach later introduces a chromatic, toccata-like secondary theme for effect. The ritornello immediately gives way to a carefully mapped progression through the neighboring keys, using the dominant minor, the relative major, the relative major of the dominant minor, and so forth. The soloist leads the concerto through sections of contrapuntal and harmonic exploration, interspersed with several varied restatements of the ritornello by the strings. Following an elaborate cadenza by the soloist, the first movement closes with a unison restatement of the ritornello. The slow second movement is in G minor, which is unusual in that most of Bachs concertos and sonatas that begin in a minor key have a second movement in a major key, and vice-versa. Like Bachs two violin concertos, the movement is built on a foundation of a solemn basso ostinato which also serves as the ritornello. The movements structure is symmetrical, with the first half progressing from G minor to C minor, and then to a B flat major cadence; the progression then retraces its steps, through C minor and again back to G minor. Similarly, the opening and closing statements of the ritornello are both in unison. Throughout the piece, the soloist weaves an increasingly florid melody over the ground bass, adding a lyrical quality to the somber character of the movement. The Allegro finale movement is constructed in a similar manner to the opening movement. In 3/4 time, its opening 12-bar ritornello begins with a downward scale and has a recurring rhythmic figure consisting of two sixteenth notes and an eighth note. In parts of the ritornello, the melody is traded between the bass and treble. The first solo section is a toccata-like figure. The final statement of the ritornello is preceded by a short but elaborate cadenza, as in the first movement.br />br />Source: AllMusic (http://www.allmusic.com/composition/concerto-for-harpsichord-strings-continuo-no-1-in-d-minor-bwv-1052-mc0002 385772)./div> /a> /li> li class> a href#u9bvfht94zg classyotu-video data-videoidu9bvfht94zg data-titleSigismun Neukomm (1778 - 1858) - Sonata - Allegro (Rosana Lanzelotte, pianoforte) titleSigismun Neukomm (1778 - 1858) - Sonata - Allegro (Rosana Lanzelotte, pianoforte)> div classyotu-video-thumb-wrp> div> img classyotu-video-thumb srchttps://i.ytimg.com/vi/u9bvfht94zg/sddefault.jpg altSigismun Neukomm (1778 - 1858) - Sonata - Allegro (Rosana Lanzelotte, pianoforte)> /div> /div> h3 classyotu-video-title>Sigismun Neukomm (1778 - 1858) - Sonata - Allegro (Rosana Lanzelotte, pianoforte)/h3> div classyotu-video-description>Gravado ao vivo no Museu Imperial por ocasião da inauguração da exposição em homenagem aos 200 anos de nascimento de D. Maria II/div> /a> /li> li class> a href#1bURcYOPYUU classyotu-video data-videoid1bURcYOPYUU data-titleF.J.Haydn - Sonata op. 93 (Antonio Meneses, Rosana Lanzelotte, Alberto Kanji) titleF.J.Haydn - Sonata op. 93 (Antonio Meneses, Rosana Lanzelotte, Alberto Kanji)> div classyotu-video-thumb-wrp> div> img classyotu-video-thumb srchttps://i.ytimg.com/vi/1bURcYOPYUU/sddefault.jpg altF.J.Haydn - Sonata op. 93 (Antonio Meneses, Rosana Lanzelotte, Alberto Kanji)> /div> /div> h3 classyotu-video-title>F.J.Haydn - Sonata op. 93 (Antonio Meneses, Rosana Lanzelotte, Alberto Kanji)/h3> div classyotu-video-description>Franz Joseph Haydn (1732 - 1809)br />Sonata op. 93 (Hob. VI, 1) (1777)br />Allegro - Adagio - Tempo di Minuettobr />br />Antonio Meneses (cello), Rosana Lanzelotte (cravo) e Alberto Kanji (cello)br />Gravado ao vivo em 10/7/2009 – Auditório Cláudio Santorobr />Festival de Campos de Jordãobr />br />Link para Spotify: br />https://open.spotify.com/track/5sOBCuXISLmxGObjLxHBqw?sinizXtnOUSmq5dqWEV549-w/div> /a> /li> li class> a href#ULAamjmjQYM classyotu-video data-videoidULAamjmjQYM data-titleSaraus da ABL - Rosana Lanzelotte(cravo) e José Paulo Bernardes (tenor) titleSaraus da ABL - Rosana Lanzelotte(cravo) e José Paulo Bernardes (tenor)> div classyotu-video-thumb-wrp> div> img classyotu-video-thumb srchttps://i.ytimg.com/vi/ULAamjmjQYM/sddefault.jpg altSaraus da ABL - Rosana Lanzelotte(cravo) e José Paulo Bernardes (tenor)> /div> /div> h3 classyotu-video-title>Saraus da ABL - Rosana Lanzelotte(cravo) e José Paulo Bernardes (tenor)/h3> div classyotu-video-description>Auditório da Academia Brasileira de Letras - 9 de julho de 1997br />br />W.A. Mozart (1756 - 1791) - “Ridente la calma”br />Henry Purcell (1659 - 1695) - “Music for a while”br />Domenico Scarlatti (1685-1757) - Sonata K. 56br /> Sonata K. 141br />José Maurício N. Garcia (1767 - 1830) - Domine Deusbr />Modinhas Imperiais (recolhidas por Mário de Andrade) - O Coração perdidobr /> Escuta, formosa Marciabr />Anon. séc XIX - Lundumbr />J.S. Arvellos Modinhabr />Ernesto Nazareth (1863 - 1934) - Escorregandobr /> Odeonbr />T. A. Pereira & M.A. Ferreira - É a ti, Flor dos Cëusbr />Edmundo Villani Côrtes (1930) - Modinha da Moça de Antes (1994)/div> /a> /li> li class> a href#wYAbBgXefj8 classyotu-video data-videoidwYAbBgXefj8 data-titleErnesto Nazareth - Odeon titleErnesto Nazareth - Odeon> div classyotu-video-thumb-wrp> div> img classyotu-video-thumb srchttps://i.ytimg.com/vi/wYAbBgXefj8/sddefault.jpg altErnesto Nazareth - Odeon> /div> /div> h3 classyotu-video-title>Ernesto Nazareth - Odeon/h3> div classyotu-video-description>Rosana Lanzelotte (cravo)br />Animação da partitura realizada por Stephen Malinowski/div> /a> /li> li class yotu-last> a href#IcRHtRjfYWg classyotu-video data-videoidIcRHtRjfYWg data-titleMozart - Sonata KV 13 (Allegro) titleMozart - Sonata KV 13 (Allegro)> div classyotu-video-thumb-wrp> div> img classyotu-video-thumb srchttps://i.ytimg.com/vi/IcRHtRjfYWg/sddefault.jpg altMozart - Sonata KV 13 (Allegro)> /div> /div> h3 classyotu-video-title>Mozart - Sonata KV 13 (Allegro)/h3> div classyotu-video-description>Rosana Lanzelotte - cravobr />Tomaz Soares - violinobr />Jean Gualberto - contrabaixobr />br />As seis sonatas de Wolfgang Amadeus Mozart para teclado com acompanhamento de violino (ou flauta) e violoncelo, K. 10–15 foram compostas no final de 1764 em Londres durante a turnê européia da família Mozart. O pequeno Mozart tinha apenas 8 anos na ocasião e talvez tenha sido acompanhado pelo pai Leopold ao violino.br />br />Gravado ao vivo no SESC Firjan Macaé em 1/6/2019/div> /a> /li> /ul>/div>div classyotu-pagination yotu-pager_layout-default yotu-pagination-bottom>a href# classyotu-pagination-prev yotu-button-prs yotu-button-prs-1 data-pageprev>Prev/a>span classyotu-pagination-current>1/span> span>of/span> span classyotu-pagination-total>5/span>a href# classyotu-pagination-next yotu-button-prs yotu-button-prs-1 data-pagenext>Next/a>/div> /div> /div> /div> /div> /div>!--/span_3--> /div>!--/row--> /div>!--/container--> /div>!--/footer-widgets--> div classrow idcopyright data-layoutdefault> div classcontainer> div classcol span_5> p>© 2025 Rosana Lanzelotte. 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Please inform administrator about issues.,7:Play next video.,8:Play previous video.,9:Please insert license key before verify,10:Are you sure about deactivation current license for this domain?,11:Checking...}};/* > *//script>script typetext/javascript srchttps://lanzelotte.com/wp-content/plugins/yotuwp-easy-youtube-embed/assets/js/frontend.min.js?ver1.3.4>/script>script typetext/javascript>yotuwp.data.videosDbUbqUk1kRI Domenico Scarlatti - Sonata K. 56,Rosana Lanzelotte (cravo)\u003Cbr \/\u003E\n\u003Cbr \/\u003E\nCravo c\u00f3pia de Blanchet, constru\u00eddo por C\u00e9sar Guidini, ornamentado com reprodu\u00e7\u00e3o da aquarela de Nicola Facchinetti: Lagoa Rodrigo de Freitas.\u003Cbr \/\u003E\n\u003Cbr \/\u003E\nGravado ao vivo na Casa Museu Eva Klabin (Rio de Janeiro) em 23\/06\/2021;yotuwp.data.videosXPGcsnOfHaw Domenico Scarlatti - Sonata K. 141,Rosana Lanzelotte (cravo)\u003Cbr \/\u003E\n\u003Cbr \/\u003E\nCravo c\u00f3pia de Blanchet, constru\u00eddo por C\u00e9sar Guidini, ornamentado com reprodu\u00e7\u00e3o da aquarela de Nicola Facchinetti: Lagoa Rodrigo de Freitas.\u003Cbr \/\u003E\n\u003Cbr \/\u003E\nGravado ao vivo na Casa Museu Eva Klabin (Rio de Janeiro) em 23\/06\/2021;yotuwp.data.videos_ZCW8Ncwh94 J. Haydn (1732 - 1809) - Il Terremoto, de As Sete \u00daltimas Palavras de Cristo na Cruz,Joseph Haydn (1732 \u2013 1809) j\u00e1 era um compositor famoso, aos 53 anos, quando recebeu a inusitada encomenda da Igreja de Cadiz (Espanha): escrever m\u00fasica que ilustrasse as \u201csete \u00faltimas palavras de Cristo na Cruz\u201d, num solen\u00edssimo servi\u00e7o religioso para a Sexta-Feira Santa. \u003Cbr \/\u003E\n\u003Cbr \/\u003E\nA obra foi executada na igreja toda revestida de preto, o bispo proferia cada uma das sete frases, seguida de um pequeno serm\u00e3o, ap\u00f3s o que uma das sonatas era tocada. S\u00e3o sete ad\u00e1gios, precedidos de uma introdu\u00e7\u00e3o e seguidos por um \u201cterremoto\u201d final. \u003Cbr \/\u003E\n\u003Cbr \/\u003E\nComo o pr\u00f3prio Haydn disse, \u201ca tarefa de escrever sete ad\u00e1gios, de cerca de dez minutos, seguindo-se um ao outro, sem cansar os ouvintes, n\u00e3o era das mais f\u00e1ceis\u201d. Talvez isso possa explicar as m\u00faltiplas vers\u00f5es da obra. Ela foi escrita originalmente para orquestra, com instrumenta\u00e7\u00e3o variada: cordas, duas flautas, dois obo\u00e9s, dois fagotes, dois trompetes, quatro trompas e percuss\u00e3o. Dois anos mais tarde, Haydn arranjou-a para quarteto de cordas - talvez a vers\u00e3o mais popular nos dias de hoje. O pr\u00f3prio Haydn a dirigiu diversas vezes, inclusive em sua \u00faltima apari\u00e7\u00e3o p\u00fablica, em 26 de dezembro de 1803.\u003Cbr \/\u003E\n\u003Cbr \/\u003E\nPara ouvir na \u00edntegra: https:\/\/spoti.fi\/43fiy47\u003Cbr \/\u003E\n\u003Cbr \/\u003E\n\u201cRosana Lanzelotte - que tem a virtude rara de tocar m\u00fasica contempor\u00e2nea no instrumento antigo \u2013 faz do vener\u00e1vel Haydn, mais uma vez, um nome novo da nossa mem\u00f3ria\u201d\u003Cbr \/\u003E\n(Arthur Nestrovski - Folha de S\u00e3o Paulo - SP, 5\/2\/2003);yotuwp.data.videosaK0XZkzDeNg J.S.Bach - Concerto de Brandenburgo n\u00ba 5,Solista: Rosana Lanzelotte\u003Cbr \/\u003E\nOrquestra Johann Sebastian Rio, dire\u00e7\u00e3o Felipe Prazeres\u003Cbr \/\u003E\n\u003Cbr \/\u003E\nOs Concertos de Brandenburgo (BWV 1046-1051, t\u00edtulo original: \Six Concerts avec plusieurs instruments\, em alem\u00e3o: Brandenburgische Konzerte) s\u00e3o uma cole\u00e7\u00e3o de seis pe\u00e7as musicais composta por Johann Sebastian Bach entre 1718 - 1721, dedicados e apresentados a Crist\u00f3v\u00e3o Ludovico de Brandemburgo-Schwedt em 1721. \u003Cbr \/\u003E\n\u003Cbr \/\u003E\nO Concerto No. 5 em R\u00e9 maior, BWV 1050, tem 3 movimentos. Acredita-se que o concerto foi escrito em 1719, para mostrar um novo cravo de Michael Mietke que Bach havia trazido de Berlim para a corte de K\u00f6then. Tamb\u00e9m se pensa que foi escrito para uma competi\u00e7\u00e3o em Dresden com o compositor e organista franc\u00eas Louis Marchand; no movimento central Bach usa um dos temas de Marchand. Marchand deixou a competi\u00e7\u00e3o antes que ela pudesse acontecer, aparentemente amedrontado com a grande reputa\u00e7\u00e3o de Bach para o virtuosismo e improvisa\u00e7\u00e3o.\u003Cbr \/\u003E\n\u003Cbr \/\u003E\nTodo o concerto \u00e9 bem adequado para mostrar as qualidades de um bom cravo e a virtuosidade de seu int\u00e9rprete, mas especialmente na longa cadenza do primeiro movimento. Parece quase certo que Bach, um grande organista e virtuoso cravista, tenha sido o cravista na estreia. Estudiosos tem visto essa obra como o primeiro exemplo de concerto com uma parte solo para um instrumento de teclado.;yotuwp.data.videosRFwepnGzzNA D. Pedro I e a m\u00fasica da Independ\u00eancia,Governo do Estado do Rio de Janeiro, Secretaria de Estado de Cultura e Economia Criativa do Rio de Janeiro, atrav\u00e9s do Edital Retomada Cultural RJ2 e Prefeitura da Cidade do Rio de Janeiro, Secretaria Municipal de Cultura apresentam: \u003Cbr \/\u003E\n\u003Cbr \/\u003E\nD. Pedro I e a m\u00fasica da Independ\u00eancia (making of)\u003Cbr \/\u003E\n\u003Cbr \/\u003E\n#SececRJ, #CulturaPresente #RetomadaCulturalRJ2;yotuwp.data.videosUdP4IR3wVAs Johann Sebastian Bach - Concerto BWV 1065,Cravos: Rosana Lanzelotte, Olivier Baumont, Marcelo Fagerlande, Cristiano Gaudio\u003Cbr \/\u003E\nCordas: Felipe Prazeres (violino), Marco Catto (viola), Marcus Ribeiro (cello), Rodrigo Favaro (contrabaixo). \u003Cbr \/\u003E\nParticipa\u00e7\u00e3o especial: Julien Chauvin (violino)\u003Cbr \/\u003E\n\u003Cbr \/\u003E\nGravado ao vivo na Sala Cec\u00edlia Meireles - 30\/8\/2019\u003Cbr \/\u003E\nFestival Baroque in Rio - patroc\u00ednio Consulado Franc\u00eas no Rio de Janeiro;yotuwp.data.videosPuS1aCuo0DE Johann Sebastian Bach - Concerto BWV 1052,Rosana Lanzelotte (cravo)\u003Cbr \/\u003E\nJohann Sebastian Rio\u003Cbr \/\u003E\nReg\u00eancia; Felipe Prazeres\u003Cbr \/\u003E\nGravado na Sala Cec\u00edlia Meireles, 20\/10\/2020\u003Cbr \/\u003E\n\u003Cbr \/\u003E\nThis concerto, composed during Johann Sebastian Bachs C\u00f6then period, is thought to be based on a lost violin concerto. It is clear from the manuscript notation that the concerto was composed for the two manuals of the harpsichord, but it is frequently performed on the single keyboard of the modern piano. The piece is composed in three movements; the first one was later used by Bach as an organ prelude, and the slow movement became the first chorus of his Cantata No. 146, \Wir m\u00fcssen durch viel Tr\u00fcbsal.\\u003Cbr \/\u003E\n\u003Cbr \/\u003E\nLike most of Bachs instrumental concertos, this work employs the Italian ritornello form. The ritornello of the first movement is a driving six-bar unison theme whose opening five notes form the foundation for the majority of the movement. The themes power stems from its ever-expanding leaps and its emphatic closing cadence. Most of the soloists passages are derived from this theme, but Bach later introduces a chromatic, toccata-like secondary theme for effect. The ritornello immediately gives way to a carefully mapped progression through the neighboring keys, using the dominant minor, the relative major, the relative major of the dominant minor, and so forth. The soloist leads the concerto through sections of contrapuntal and harmonic exploration, interspersed with several varied restatements of the ritornello by the strings. Following an elaborate cadenza by the soloist, the first movement closes with a unison restatement of the ritornello. The slow second movement is in G minor, which is unusual in that most of Bachs concertos and sonatas that begin in a minor key have a second movement in a major key, and vice-versa. Like Bachs two violin concertos, the movement is built on a foundation of a solemn basso ostinato which also serves as the ritornello. The movements structure is symmetrical, with the first half progressing from G minor to C minor, and then to a B flat major cadence; the progression then retraces its steps, through C minor and again back to G minor. Similarly, the opening and closing statements of the ritornello are both in unison. Throughout the piece, the soloist weaves an increasingly florid melody over the ground bass, adding a lyrical quality to the somber character of the movement. The Allegro finale movement is constructed in a similar manner to the opening movement. In 3\/4 time, its opening 12-bar ritornello begins with a downward scale and has a recurring rhythmic figure consisting of two sixteenth notes and an eighth note. In parts of the ritornello, the melody is traded between the bass and treble. The first solo section is a toccata-like figure. The final statement of the ritornello is preceded by a short but elaborate cadenza, as in the first movement.\u003Cbr \/\u003E\n\u003Cbr \/\u003E\nSource: AllMusic (http:\/\/www.allmusic.com\/composition\/concerto-for-harpsichord-strings-continuo-no-1-in-d-minor-bwv-1052-mc0002 385772).;yotuwp.data.videosu9bvfht94zg Sigismun Neukomm (1778 - 1858) - Sonata - Allegro (Rosana Lanzelotte, pianoforte),Gravado ao vivo no Museu Imperial por ocasi\u00e3o da inaugura\u00e7\u00e3o da exposi\u00e7\u00e3o em homenagem aos 200 anos de nascimento de D. Maria II;yotuwp.data.videos1bURcYOPYUU F.J.Haydn - Sonata op. 93 (Antonio Meneses, Rosana Lanzelotte, Alberto Kanji),Franz Joseph Haydn (1732 - 1809)\u003Cbr \/\u003E\nSonata op. 93 (Hob. VI, 1) (1777)\u003Cbr \/\u003E\nAllegro - Adagio - Tempo di Minuetto\u003Cbr \/\u003E\n\u003Cbr \/\u003E\nAntonio Meneses (cello), Rosana Lanzelotte (cravo) e Alberto Kanji (cello)\u003Cbr \/\u003E\nGravado ao vivo em 10\/7\/2009 \u2013 Audit\u00f3rio Cl\u00e1udio Santoro\u003Cbr \/\u003E\nFestival de Campos de Jord\u00e3o\u003Cbr \/\u003E\n\u003Cbr \/\u003E\nLink para Spotify: \u003Cbr \/\u003E\nhttps:\/\/open.spotify.com\/track\/5sOBCuXISLmxGObjLxHBqw?sinizXtnOUSmq5dqWEV549-w;yotuwp.data.videosULAamjmjQYM Saraus da ABL - Rosana Lanzelotte(cravo) e Jose\u0301 Paulo Bernardes (tenor),Audit\u00f3rio da Academia Brasileira de Letras - 9 de julho de 1997\u003Cbr \/\u003E\n\u003Cbr \/\u003E\nW.A. Mozart (1756 - 1791) - \u201cRidente la calma\u201d\u003Cbr \/\u003E\nHenry Purcell (1659 - 1695) - \u201cMusic for a while\u201d\u003Cbr \/\u003E\nDomenico Scarlatti (1685-1757) - Sonata K. 56\u003Cbr \/\u003E\n Sonata K. 141\u003Cbr \/\u003E\nJos\u00e9 Maur\u00edcio N. Garcia (1767 - 1830) - Domine Deus\u003Cbr \/\u003E\nModinhas Imperiais (recolhidas por M\u00e1rio de Andrade) - O Cora\u00e7\u00e3o perdido\u003Cbr \/\u003E\n Escuta, formosa Marcia\u003Cbr \/\u003E\nAnon. s\u00e9c XIX - Lundum\u003Cbr \/\u003E\nJ.S. Arvellos Modinha\u003Cbr \/\u003E\nErnesto Nazareth (1863 - 1934) - Escorregando\u003Cbr \/\u003E\n Odeon\u003Cbr \/\u003E\nT. A. Pereira & M.A. Ferreira - \u00c9 a ti, Flor dos C\u00ebus\u003Cbr \/\u003E\nEdmundo Villani C\u00f4rtes (1930) - Modinha da Mo\u00e7a de Antes (1994);yotuwp.data.videoswYAbBgXefj8 Ernesto Nazareth - Odeon,Rosana Lanzelotte (cravo)\u003Cbr \/\u003E\nAnima\u00e7\u00e3o da partitura realizada por Stephen Malinowski;yotuwp.data.videosIcRHtRjfYWg Mozart - Sonata KV 13 (Allegro),Rosana Lanzelotte - cravo\u003Cbr \/\u003E\nTomaz Soares - violino\u003Cbr \/\u003E\nJean Gualberto - contrabaixo\u003Cbr \/\u003E\n\u003Cbr \/\u003E\nAs seis sonatas de Wolfgang Amadeus Mozart para teclado com acompanhamento de violino (ou flauta) e violoncelo, K. 10\u201315 foram compostas no final de 1764 em Londres durante a turn\u00ea europ\u00e9ia da fam\u00edlia Mozart. O pequeno Mozart tinha apenas 8 anos na ocasi\u00e3o e talvez tenha sido acompanhado pelo pai Leopold ao violino.\u003Cbr \/\u003E\n\u003Cbr \/\u003E\nGravado ao vivo no SESC Firjan Maca\u00e9 em 1\/6\/2019;/script>script typetext/javascript srchttps://stats.wp.com/e-202504.js asyncasync deferdefer>/script>script typetext/javascript> _stq window._stq || ; _stq.push( view, {v:ext,j:1:8.4.1,blog:123740718,post:39,tz:-3,srv:lanzelotte.com} ); _stq.push( clickTrackerInit, 123740718, 39 );/script>/body>/html>
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