"Freude Und Ermuthigung"
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Musik Am Badischen
Friedrich Ernst Fesca (1789-1826) Johann Evangelist Brandl wurde Quartett G-Dur op.38 1760 in Rohr bei Regensburg geboren. Im für Flöte, Violine, Viola und Violoncello Kloster Rohr erhielt er ab dem Alter von Quantz-Collegium e. V fünf Jahren seine erste musikalische Allegro - poco Adagio - Scherzo.Vivace ma non Ausbildung. Violine und Klavier waren 59. Sommer 2015 troppo - Finale.Allegro seine Instrumente, außerdem erhielt er ...................................................................................................................................................... Gesangsunterricht. Johann Paul Eichhorn (1787-1861) Grand Quintetto B-Dur In München vervollständigte er sein musikalisches Wissen. Festliche Serenaden „Carlsruhe 1804“ Er scheint eine Zeitlang als Violinspieler und Lehrer gelebt für zwei Violinen, zwei Violen und Violoncello zu haben bis er 1784 eine Anstellung am fürstlichen Hof des Schloss Favorite Ludwig von Hohenlohe-Bartenstein erhielt. Im Jahr 1789 Allegro moderato-Menuetto.Allegretto- führte ihn sein Lebensweg ins Badische, da er er vom Fürst- Adagio-Tempo di Polonaise.Moderato (Var I-V) bischof von Speyer zum Musikdirektor in Bruchsal ernannt Künstlerische Leitung: Jochen Baier wurde. Durch die Folgen der französischen Revolution war ....................................................................................................................................................... das kulturelle Leben an den deutschen Fürstenhöfen nicht ohne weiteres aufrecht zu erhalten, so auch in Bruchsal. PAUSE Brandl -
Album Booklet
Beyond Beethoven Works for natural horn & fortepiano Ferdinand Ries (1784–1838) Grande Sonate in F major, Op. 34 Anneke Sco natural horn 1. Largheo – Allegro moderato [13:20] 2. Andante [2:57] Steven Devine fortepiano 3. Rondo: Allegro [7:44] Lucien Joseph Raoux cor solo, c.1810 Friedrich Eugen Thürner (1785–1827) Johann Peter Fritz Viennese fortepiano, 1815 (Richard Burne collecon) Grande Sonate in E major, Op. 29 4. Allegro [12:14] 5. Largo molto [3:20] 6. Rondo: Allegro moderato [7:03] Friedrich Starke (1774–1835) Adagio und Rondo, Op. 105 7. Poco Adagio [3:35] 8. Rondo poco Allegro [9:04] Hendrik Coenraad Steup (1778–1827) Sonate in E flat major, Op. 11 9. Allegro brillante [8:21] 10. “Les Adieux”: Andante espressivo [5:17] 11. Rondo Allegro [4:48] About Anneke Sco & Steven Devine: Total playing me [77:51] ‘[Anneke Sco] produces some wonderfully plangent tone colours [...] Her playing, and that of Steven Devine, has a natural musicality that is parcularly noceable in the way they both apply an easy flexibility to the flow of the music.’ Early Music Review Beyond Beethoven performance. Despite this ‘rushed job’, or perhaps, given Beethoven’s ability to If horn players learn one piece on the natural extemporise, as a result of this element of horn it is invariably Beethoven’s Sonata in spontaneity, the premiere was successful F major, Op. 17 for piano and horn. This and the two musicians went on to perform work was premiered in 1800, at a me when this work a number of mes. the fame of the horn soloist, Giovanni Punto (1746–1803), far outshone that of Beethoven had rushed into the world the first the composer, with one reviewer of an complete sonata for piano and horn, but this early performance asking ‘Who is this was not going to be the sole specimen for Herr Bethover [sic]?’. -
Herbstkonzerte 2012
Herbstkonzerte 2012 Wolfgang Amadeus Mozart Friedrich Ernst Fesca Franz Schubert Leitung: Andreas Ruppert www.holzkirchner-symphoniker.de Seite 1 Seite 14 Die Holzkirchner Symphoniker bedanken sich bei Holzkirchner Symphoniker - Mitspieler Herrn Bürgermeister Höß und der Gemeinde Holzkirchen Violine Kontrabass für die Unterstützung der musikalischen Arbeit des Symphonieorchesters, Hans-Peter Bartocha Hans Danninger Luitgard Blania Willi Schmotz ebenso beim Rektor der Hauptschule Holzkirchen, Herrn Preiß, Hildegard Blaß Richard Schuerger für die freundliche Bereitstellung der Probenräumlichkeiten, Anne-Grit Eisenschmid sowie beim Bezirk Oberbayern. Monika Eisert Hartwig Emde Flöte Marlene Emde Franz Diemer Susann Fackler Brigitte Kreß Veronika Feichtinger Ursula Wilpert Ulrike Hanemann Jochen Heinz Oboe Sabine Höllmann Wolfgang Merkel Bilhilde Huber Priti Schlubach Impressum: Barbara Kuschnir Birgit Weidinger Elisabeth Lainer Copyright © 2012 by Maria Lell Klarinette Holzkirchner Symphoniker e.V. Jens Moritz Peter Potansky Dr. Peter Potansky (1. Vorsitzender) Manuela Pick Hedwig Weiss Senta Preuß Geschäftsadresse: Claudia Ruppert Fagott Karwendelstr. 3a Wagner Oeser 83607 Holzkirchen Andrea Ernst Laura Weber Annette Streib Redaktion: Viola Eckhard Emde Franz Antretter Trompete Dr. Peter Potansky Theo Arnsberger Florian Grießbach Hubertus Kirchhoff Hans-Joachim Sieck Werbung: Gernot Klewar Rainer Töpel Steve Kushnir Horn Heidelinde Partheymüller Peter Blania Gestaltung und Layout: Rainer Toepel Sebastian Dolewski Eckhard Emde Walter Zoelch -
Piano Quartet Literature
GUIDE TO THE , • • ' ., PIANO QUARTET' - J. ..... .... ., -� �.., ., LITERATURE T he Silve rtrus t Guid e to th Pia e no Qu artet Lit eratu re ;..{.. ... BY RAYMOND SILVERTRUST EDITOR OF THE CHAMBER MUSI JOURNAL -1- Table of Contents Introduction and Preface ··································································································· 3 Quartets for Violin, Viola, Cello and Piano ······································································ 6 Index······························································································································· 41 -2- A Guide to the Piano Quartet Literature By Raymond Silvertrust Introduction and Preface engage a string quartet and a pianist, or find a ‘pick up’ group of First, I would like to apologize to my readers. I have hastily typed string players and a pianist. If a string quartet and pianist are en- this entirely myself. And as I have no editor and because I am not gaged and a piano quartet is to be presented, one of the violins a good proof reader, you will find many mistakes, largely must sit out. Further the cost to the organization is the same as if because I have felt, now in my seventh decade, that I am racing they had presented a piano quintet. So, as far as cost goes, a ‘pick against the clock so to speak. I have wanted to make sure that I up’ group of freelancers makes the most sense. But even in big would be able to complete this guide. When it is done, and if I cities where there are hundreds of freelance musicians, program- have time, I will improve it, add to it and, of course, try to ming organizations almost never take advantage of the situation eliminate all of the errors I have left behind. -
GERMAN & AUSTRIAN SYMPHONIES from the 19Th
GERMAN & AUSTRIAN SYMPHONIES From The 19th Century To The Present Composers other than Beethoven, Brahms, Bruckner, Mahler, Mendelssohn, Schubert & Schumann A Discography of CDs and LPs Prepared by Michael Herman Composers A-L JOHANN JOSEPH ABERT (1832-1915) A Sudeten German, he was born in Kochowitz, Bohemia (now Kochovice, Czech Republic). He studied double bass at the Prague Conservatory with Josef Hrabe and also received lessons in theory from Johann Friedrich Kittl and August Wilhelm Ambros. He became a double bassist for the Court Orchestra at Stuttgart and later was appointed Kapellmeister. He composed orchestral and chamber works as well as lieder and several successful operas. His unrecorded Symphonies are: Nos. 1 in B minor (1852), 2 in C minor (1854), 3 in A major (1856), 5 in C minor (1870), 6 in D minor "Lyric Symphony" (1890) and 7 in C major "Spring Symphony" (1894). Symphony No. 4 in D major, Op. 31 "Columbus, A Musical Portrait of the Sea in the Form of a Symphony" (1863) Werner Stiefel/Bohuslav Martinu Philharmonic Orchestra ( + Concerto for Double Bass and Variations for Double Bass and Orchestra) BAYER RECORDS 100160 (1996) AUGUST RITTER VON ADELBURG (1830-1873) Born in Pera, Turkey. The son of a diplomat, he spent his early years in Istanbul before going to Vienna to study music with Joseph Mayseder for violin and with Hoffmann for composition. He then toured Europe as a violinist. He later returned to Istanbul where he played the violin before the Sultan to whom he dedicated this Symphony. He mostly composed operas, chamber, instrumental and vocal works. -
Volume 26, Number 03 (March 1908) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 3-1-1908 Volume 26, Number 03 (March 1908) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 26, Number 03 (March 1908)." , (1908). https://digitalcommons.gardner-webb.edu/etude/534 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. 1 JVtARCH -1QQ8 PRICE 15 CENTS ^T%|ir 1.50 PER YEAR ETUDE FOR MUSIC LOVERS PUBLISHED BY THEODORE: PRESSER 7&o. r PM I LADE LP H IA Ear V. 16 * 3 New Publications Robert Schumann Songs for Children SELECTED WORKS , Vol. XXVI. PHILADELPHIA, PA., MARCH, 1908. No. 3. New Cantatas and Books Chopin Album FILLMORE MUSIC HOUSE PALMER’S PIANO PRIMER THE COMPREHENSIVE SCALE AND ARPEGGIO MANUAL H.R. PALMER Lock Box 1841, New Y HAVE YOU A U DESIRE WBLlMBlf WE PRINT & PUBLISH COM POSER5*f DEALERS .send for our price list IN PRESS otto MnonniM FOR SALE AT LOW ADVANCE PRICES. SEND FOR BULLETIN. flUSIC PRINTERS t;ENGRAVEH5 NEW SONGS WITHOUT WORDS 24 PROGRESSIVE STUDIES FOR THE CINCINNATI, OHIO. -
Dissertation, Korrektur Für Ausdruck
Louis Spohr und die „Kasseler Schule“ Das pädagogische Wirken des Komponisten, Geigenvirtuosen und Dirigenten in der ersten Hälfte des 19. Jahrhunderts Dissertation zur Erlangung des akademischen Grades Doktor der Philosophie (Dr. phil.) genehmigt durch die Fakultät für Geistes-, Sozial- und Erziehungswissenschaften der Otto-von-Guericke-Universität Magdeburg von Ronald Dürre M.A. geb. am 19.07.1970 in Gardelegen Gutachter: Prof. Dr. Tomi Mäkelä Gutachterin: Prof. Dr. Susanne Fontaine Eingereicht am: 21.01.2004 Verteidigung der Dissertation am: 05.11.2004 2 Inhaltsverzeichnis Vorwort 5 1. Einleitung 6 1.1 Prämissen und Kontext 6 1.2 Quellenlage 11 1.3 Untersuchungsansatz, Schwerpunkte und Zielsetzung 14 2. Einfluss musikalischer und geistig-sozialer Strömungen auf die Ausprägung der Professionalität Spohrs als Künstler und Lehrer 26 2.1 Der musikhistorische Übergang in das 19. Jahrhundert 26 2.2 Grundlagen des Spohrschen Kompositions- und Vortragsstils 36 2.3 Erziehung des jungen Musikers 44 2.3.1 Humanistische Erziehung und musikalische Grundausbildung im Elternhaus 44 2.3.2 Schulbildung unter dem Einfluss philanthropinistischer Bestrebungen der Bildungsreformer in Braunschweig 50 2.3.3 Weitere musikalische Grundausbildung Spohrs mit beruflicher Zielsetzung 65 3. Künstlerische Vervollkommnung als Basis für Spohrs Wirken als Tonkünstler und Pädagoge 68 3.1 Ausbildung zum Geigenvirtuosen und das Interesse an der Lehrtätigkeit 68 3.2 Spohrs spieltechnisches und didaktisches Konzept 75 3.2.1 Musikhistorischer Kontext 75 3.2.2 Anwendung von Erfahrungen der eigenen Ausbildung 80 3.2.3 Grundlegende Ziele im praktischen Unterricht 81 3.2.4 Musikdidaktische Ansätze im Geigenunterricht 85 3.3 Musiktheoretische Ausbildung durch Analyse kompositorischer Details 112 3.4 Musikästhetische Ansichten im Unterricht 113 4. -
The Critical Reception of Beethoven's Compositions by His German
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln University of Nebraska Press -- Sample Books and Chapters University of Nebraska Press 2001 The Critical Reception of Beethoven’s Compositions by His German Contemporaries, volume 2 Wayne M. Senner Arizona State University Robin Wallace William Meredith Follow this and additional works at: https://digitalcommons.unl.edu/unpresssamples Part of the Arts and Humanities Commons Senner, Wayne M.; Wallace, Robin; and Meredith, William, "The Critical Reception of Beethoven’s Compositions by His German Contemporaries, volume 2" (2001). University of Nebraska Press -- Sample Books and Chapters. 5. https://digitalcommons.unl.edu/unpresssamples/5 This Article is brought to you for free and open access by the University of Nebraska Press at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in University of Nebraska Press -- Sample Books and Chapters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. The Critical Reception of Beethoven’s Compositions by His German Contemporaries, volume 2 Number 3 in the series North American Beethoven Studies Edited by William Meredith The Critical Reception of Beethoven’s by His German Contemporaries, volume 2 Wayne M. Senner, general editor and compiler Robin Wallace, translator and musicological editor William Meredith, musicological editor Published by the University of Nebraska Press, Lincoln and London, in association with the American Beethoven Society and the Ira F. Brilliant Center for Beethoven Studies, San José State University © 2001 by the University of Nebraska Press All rights reserved Manufactured in the United States of America Library of Congress Cataloging-in-Publication Data The critical reception of Beethoven’s compositions by his German contemporaries / Wayne M. -
String Chamber Music Performance in New York City, 1842-1852: the Social and Cultural Context of Representative Works by George Frederick Bristow
STRING CHAMBER MUSIC PERFORMANCE IN NEW YORK CITY, 1842-1852: THE SOCIAL AND CULTURAL CONTEXT OF REPRESENTATIVE WORKS BY GEORGE FREDERICK BRISTOW BY ROBERT J. E. HOPKINS DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Associate Professor Christina Bashford, Chair and Director of Research Professor Jeffrey Magee Associate Professor Stefan Milenkovich Clinical Assistant Professor Andrea Solya ABSTRACT This dissertation focuses on string chamber music performances in New York City during the years 1842 to 1852. George Frederick Bristow, an American composer, wrote string chamber works in 1845 and 1849. The study discusses the broader context of chamber music during the years surrounding Bristow’s composition of his string chamber works. From a consultation of primary sources, key performances are documented and assessed, including a discussion of the sacralization of string chamber genres in music journal performance reviews. The paper will further discuss the influence of mid-century German immigration upon repertoire selection and canon formation. More common in the earlier years of this study, string chamber music frequently appeared on “miscellaneous” performances, featuring a variety of instrumentation and genres, wherein string chamber works would often serve in a secondary role. As a contrast, early efforts to establish concerts series in New York consisting primarily of string chamber music will be presented and discussed. The final chapter will discuss much of George Frederick Bristow’s (1825-1898) musical activity during this period. -
Programmheft Roma It V01.Docx
¯ ¯ HOLZKIR CHNER SYMPHON IKER Programma Wolfgang Amadeus Mozart (1756-1791) Ouverture dell‘opera lirica “La clemenza di Tito“ KV621 Allegro Friedrich Ernst Fesca (1789-1826) Sinfonia no. 2 in re maggiore op. 10 Poco Adagio - Allegro molto assai Andante con moto Scherzo. Presto Finale. Allegro molto assai PAUSA Franz Schubert (1797-1828) Sinfonia no. 3 in re maggiore D. 200 Adagio maestoso – Allegro con brio Allegretto Menuetto. Vivace – Trio – Menuetto Presto vivace Direttore d’orchestra: Andreas Ruppert Orchestra sinfonica di Holzkirchen (Germania) www.holzkirchner-symphoniker.de Concerto della Holzkirchner Symphoniker La programma del concerto della Holzkirchner Symphoniker contiene opere di Mozart, Fesca e Schubert. Come introduzione della serata si sentirà l‘ouverture dell‘opera lirica “La clemenza di Tito“ di Wolfgang Amadeus Mozart. Tale opera di Mozart dell’anno 1790 tratta un episodio della vita dell’imperatore Tito che nell’anno 79 salì al trono pur avendo in quei tempi una reputazione abbastanza cattiva. Nonostante ciò egli diventò un sovrano eccellente la cui generosità e clemenza furono esaltate in tutte le parti del paese. Tale clemenza è anche oggetto dell’opera di Mozart la quale fu rappresentata per la prima volta durante le festività di incoronazione dell’imperatore Leopoldo II. L‘ouverture presenta al pubblico il suono supremo e solenne dell‘opera e, allo stesso tempo, prepara gli ascoltatori al suo messaggio umanitario. Solo pochi frequentatori di concerti di musica classica conosceranno il nome del compositore Friedrich Ernst Fesca (1789-1826). Tale compositore debuttò all’età di 11 anni come virtuoso del violino. Stimolato da Louis Spohr Fesca compose anche dei concerti per violino solo grazie ai quali fu assunto come maestro d’orchestra e compositore presso la Corte ducale di Oldenburg.