4947188-A7c8b9-636943536520.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Oscar Straus Beiträge Zur Annäherung an Einen Zu Unrecht Vergessenen
Fedora Wesseler, Stefan Schmidl (Hg.), Oscar Straus Beiträge zur Annäherung an einen zu Unrecht Vergessenen Amsterdam 2017 © 2017 die Autorinnen und Autoren Diese Publikation ist unter der DOI-Nummer 10.13140/RG.2.2.29695.00168 verzeichnet Inhalt Vorwort Fedora Wesseler (Paris), Stefan Schmidl (Wien) ......................................................................5 Avant-propos Fedora Wesseler (Paris), Stefan Schmidl (Wien) ......................................................................7 Wien-Berlin-Paris-Hollywood-Bad Ischl Urbane Kontexte 1900-1950 Susana Zapke (Wien) ................................................................................................................ 9 Von den Nibelungen bis zu Cleopatra Oscar Straus – ein deutscher Offenbach? Peter P. Pachl (Berlin) ............................................................................................................. 13 Oscar Straus, das „Überbrettl“ und Arnold Schönberg Margareta Saary (Wien) .......................................................................................................... 27 Burlesk, ideologiekritisch, destruktiv Die lustigen Nibelungen von Oscar Straus und Fritz Oliven (Rideamus) Erich Wolfgang Partsch† (Wien) ............................................................................................ 48 Oscar Straus – Walzerträume Fritz Schweiger (Salzburg) ..................................................................................................... 54 „Vm. bei Oscar Straus. Er spielte mir den tapferen Cassian vor; -
Rádió Világhiradó
P ests I k OCRAMM A SZÍNHÁZI ÉLEI MELLÉKLETE 1936.41. Október 2-től P é n t e k t ő l— október e-lg SZÍNHÁZAK csütörtökig Operaház Vígszínház Művész Színház OKT. 2-áu, este ^8-kor MINDEN ESTE 8-kor OKT. i-íu , este g-kér DON CARLOS VASÁRNAP d. a. 4-kor először MINDEK ESTE g-kor «e FIAM VAS. d. u. 4-kor OKT. 3-án, este %8-kor A MINISZTER ÚR AZRA Vígjáték 3 felvonásban, VELENCEI KALMÁR irta: André Birabeau, for Regényes vígjáték 3 felvo OKT. 1-én, este %8-kor dította: Vaszary János. násban, irta: ShakesPeare. OUFEÓ FŐSZEREPLŐK: Fedák Fordította: Hoveeá Sándor. Sári, Tolnay Klári, Perczel OKT. G-án, este M:8-kor FŐSZEREPLŐK: Zita. Ladoraerszky Margit, BANK BÁN Kabos Gyula, I)éne>s Portia . « t a . Bulla El ma N e r is s a ............ Beöthy L. OKT. 7-én, este %8-kor György, Ajtay, Gárdonyi. J e s s ic a ■ » • » • E rd o s J. MOSOLY ORSZÁGA D o g e .................. Harsány! Antonio . » a . • F e n y ő E . Skylock . Gallért U. OKT. 8-án, este Mi8-kor Magyar Színház B.'LSSAIliO « S a « B ást by BAJAZZÓK G ra zia n o « « « • Bek assy MINDEN ESTE 8-kor Lorenzo ............ Ilosvay F. PESTI KARNEVÁL Marokkói h e r c e g Nagy Gy. HÖLGYEK ÉS URAK Öreg Gobbó . Rózsahegyi Fiatal Gobbó . Peti Vígjáték 3 felvonásban. Aragóniái herceg Pártos G. Nemzeti Színház Irta: Vaszary János. Tubal ............... Darvas E. OKT. í.. 4., 5., 7.. s-in , este FŐSZEREPLŐK : Vaszary órak or Piri, Gombaszögi Ella, Pesti Színház Pécby Blanka. -
Diplomarbeit
DIPLOMARBEIT Titel der Diplomarbeit Der Topos „Musikstadt Wien“ in den Filmen von Willi Forst Analyse der Filme „Wiener Blut“ und „Wiener Mädeln“ Verfasserin: Daniela Burgstaller angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2009 Studienkennzahl lt. Studienblatt: A 316 Studienrichtung lt. Studienblatt: Musikwissenschaft Betreuerin / Betreuer: ao.Univ.Prof. Dr. Margareta Saary Inhaltsverzeichnis Vorwort ............................................................................................................................ 3 1. Musikstadt Wien ......................................................................................................... 5 2. Wiener Film ................................................................................................................. 9 2.1 Definition ................................................................................................................ 9 2.2 Entwicklung .......................................................................................................... 10 2.3 Themen und wichtige Persönlichkeiten ................................................................ 11 3. Willi Forst .................................................................................................................. 13 3.1 Von der Theaterbühne zum Film – Leben und Werk ........................................... 13 3.2 Im Aufsichtsrat der Wien-Film GmbH ................................................................. 16 3.3 Die Filme über Wien ............................................................................................ -
Catalogue English
MANAGEMENT For over four decades, the Strauss Capelle Vienna has given successful performances in the world’s most prestigious concert halls. With an unshakeable devotion to its audience and its cause, the ensemble spreads its special Viennese spirit across the globe, always keeping the balance between the format of a strictly classical concert and the delights of an entertaining, interactive show. This method is the orchestra’s recipe for success. My personal mission is to uphold and globalise the Viennese musical tradition, building sustainable bridges between central European culture and international audiences, in order to ensure our classical heritage stays modern and relevant. Prepare yourself for a musical firework brimming with temperament, style and elegance and discover the charm- ing joie de vivre of the Strauss dynasty with its thrilling melodies! Francisco Supin GENERAL MANAGEMENT FRANCISCO SUPIN [email protected] +43 676 715 59 51 www.strausscapelle.com 3 HISTORY The Strauss Capelle Vienna, founded by Johann Strauss I in 1827, is steeped in historical tradition and is proud to be considered one of the most highly respected orchestras worldwide. After a concert tour through Canada and the USA in 1901, Eduard Strauss I, son of Johann Strauss I, disbanded the orchestra in New York. 76 long years passed before members of the Vienna State Opera and Volksoper or- chestra decided to revive the Strauss dynasty’s original orchestra. With unwavering devotion to their musical heri- tage, these musicians brought Strauss’ music back to life in its original setting. The rebirth of Strauss’ orchestra meant the Strauss family’s most enchanting melodies could once again fill the world’s concert houses. -
THE ART of CARLOS KLEIBER Carolyn Watson Thesis Submitted In
GESTURE AS COMMUNICATION: THE ART OF CARLOS KLEIBER Carolyn Watson Thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Conservatorium of Music University of Sydney May 2012 Statement of Originality I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Signed: Carolyn Watson Date: ii Abstract This thesis focuses on the art of orchestral conducting and in particular, the gestural language used by conductors. Aspects such as body posture and movement, eye contact, facial expressions and manual conducting gestures will be considered. These nonverbal forms of expression are the means a conductor uses to communicate with players. Manual conducting gestures are used to show fundamental technical information relating to tempo, dynamics and cues, as well as demonstrating to a degree, musical expression and conveying an interpretation of the musical work. Body posture can communicate authority, leadership, confidence and inspiration. Furthermore, physical gestures such as facial expressions can express a conductor’s mood and demeanour, as well as the emotional content of the music. Orchestral conducting is thus a complex and multifarious art, at the core of which is gesture. These physical facets of conducting will be examined by way of a case study. The conductor chosen as the centrepiece of this study is Austrian conductor, Carlos Kleiber (1930-2004). Hailed by many as the greatest conductor of all time1, Kleiber was a perfectionist with unscrupulously high standards who enjoyed a career with some of the world’s finest orchestras and opera companies including the Vienna Philharmonic, La Scala, Covent Garden, the Met and the Chicago Symphony. -
Die Landstreicher
CARL MICHAEL ZIEHRER DIE LANDSTREICHER THE VAGABONDS DANIEL BEHLE · CAROLINE STEIN · THOMAS DEWALD MARIA LEYER · KAY STIEFERMANN WDR RUNDFUNKCHOR KÖLN • WDR FUNKHAUSORCHESTER KÖLN HELMUTH FROSCHAUER 2 CARL MICHAEL ZIEHRER (1843-1922) DIE LANDSTREICHER THE VAGABONDS Operette in 2 Akten und einem Vorspiel (1899) • Operetta in 2 Acts and a Prologue Text: Leopold Krenn, Carl Lindau - Musikalische Gesamtaufnahme in deutscher Sprache - - Complete Musical Recording, sung in German - ROLAND, Assessor bei Gericht ............................................................... DANIEL BEHLE, Tenor / tenor AUGUST FLIEDERBUSCH, Landstreicher .............................. THOMAS DEWALD, Tenor / tenor BERTA FLIEDERBUSCH, Ehefrau ................................................. MARIA LEYER, Sopran / soprano GRATWOHL, Wirtshausbesitzer ...................................................................... KARL FÄTH, Bass / bass ANNA GRATWOHL, seine Tochter ......................................... ANNELI PFEFFER, Sopran / soprano RUDI VON MUGGENHEIM, Leutnant .......................... BORIS LEISENHEIMER, Tenor / tenor MUCKI VON RODENSTEIN, Leutnant ............................... DOMINIK WORTIG, Tenor / tenor MIMI CAGLIARI, Sängerin und Tänzerin ........................... CAROLINE STEIN, Sopran / soprano KAMPEL, Gerichtsdiener ............................................... KAY STIEFERMANN, Bariton / baritone FÜRST ADOLAR GILKA ...................................................... ESPEN FEGRAN, Bariton / baritone LEITGEB, Hotelier ................................................... -
Booklet-777029-2.Pdf
Franz Lehar p810-1948J DER GOTTERGATTE Operetta in three acts · Libretto: Victor Leon & Leo Stein Historical Recording 1945 Liesl Andergast Juno Franz Borsos Jupiter Anton Dermota Amphitryon Henny Herze Alkmene Fred Liewehr Sosias Lizzi Holzschuh Charis Funkeinrichtung: Lothor Riedinger Wiener Rundfunkorchester & Chor Max Schonherr CD 1 IT] Ouverture 7'04 0 Vorspiel im Olymp (1. Bild) 0'12 [TI Nr. 1 Introduction »Wir armen, armen Musen« 2'20 0 Dialog ))Wir brauchen kein Variete« 2'24 IT] Nr. 2 Duett »Bonjour, man amil« 4'19 0 Dialog »Jupiter, ich rate dir« 5'53 0 Nr. 3 Duettino »lch harre dein« 1'10 0 Dialog »fix Sapperlot, is das ein Weiberl!« l '16 0 Nr. 4 Finale »Alie sind informiert« 3'31 Erster Aki (2. Bild) [ill Nr. Sa Melodram 0'58 [D Nr. 6 Entrl!e und Serenade »Heute Nacht ist es besonders finster« 2'44 @] Dialog »Sosias!« l '05 @] Nr. 6a Entree »Heute Nacht wird etwas vor sich gehen« l '08 [I4_] Nr. 7 Jupiters Ankunft und Duett »Wer kundet Amphitryon an?« 7'11 @] Dialog »Na wart' nur Sosias« 0'32 Nr. 8 Terzett � »Du hast mich doch betrogen« 2'58 � Dialog »Ach um Gotteswillen, ich bin ia ganz aufler Atem« 5'13 IT?] Nr. 10 Cupido-Lied »Man halt mich fur den groflten a lier Gotter« 3'40 T.T.: 53'50 CD 2 Erster Akt (3. Bild) OJ Dialog »Die Nacht neigt dem Ende zu« 0'39 [I] Nr. 12 Lied »Wachs! du, Liebchen?« 4'43 [I) Dialog »Charlis lass! mich nicht hinein« 1 '31 0 Nr. -
Die Fledermaus (The Bat)
San Francisco Conservatory of Music Opera & Musical Theater Program Die Fledermaus (The Bat) Music by Johann Strauss II Libretto by Karl Haffner and Richard Genee English Translation by Marcie Stapp Dialogue by Jose Maria Condemi Jose Maria Condemi, director Curt Pajer, conductor Sun Ha Yoon, piano Saturday, April 3, 2021, 7:30 PM Recorded at the Caroline H. Hume Concert Hall March 21 and 22, 2021 Cast (in order of vocal appearance) Alfred Christopher Wall Adele Natalie Harris Roselinde Emma McAlister Gabriel Alexander Granito Dr. Blind Adam Lowe Falke Marcus Lonardo Frank Keaton Brown Orlofsky Chen Holtzman Ida Nicole Koh Yvan Sergey Khalikulov Design & Production Staff Scenic Designer Steven Kemp Costume Designer Nikki Anderson-Joy Lighting Designer Matthew Antaky Wig and Makeup Designer Heather Sterling Assistant Director Sergey Khalikulov Production Assistants Kyle Tingzon Katherine Ahmann Costume Coordinator Robert Horek Hair and Make-Up Artists Heather Sterling Lighting Technician Cassie Barnes Supertitle Preparation Ted Zoldan Head Electrician Marc Campisi Camera Operators William Childs Audio Engineer Emily Paulson Electrician Kale Sasseman Video Editor Frederic Boulay Asst. Video Editor Samir Arora Scenery engineered and built at Rooster Productions, LLC, Richmond, CA. Shot Lead Technician Adam Puglielli Lead Carpenters Doug Hescox Kyle Wilmmore Carpenters Tyler McClendon Music Staff Assistant Conductor Dana Sadava Musical Preparation Sun Ha Yoon Dana Sadava SFCM Opera & Musical Theater Program Director of Opera and Musical Theater -
People's Life and Music in Vienna in Early 20Th Century
People's Life and Music in Vienna in early 20th Century Yoshio MASUDA and Elisabeth HUBL* (*Department of Chemistry, University of Vienna) Vienna is a unique city in Europe, located in the "Mitteleuropa," the former territory of the Habsburg Empire. It was the center of politics and culture, keeping the throne of Holy Roman Empire of Germany for several hundred years, dominating the whole of Ger many, until the Napoleon War early in 19th century. In fact, Viennese culture devel oped afterward through the century, as can be seen in science, literature, philosophy, arts, music, etc., It was the case after the Empire had lost its political influence on the whole Europe, therefore the time, the 19th century, being called "Golden Autumn"(H. Spiel, 1987). It is said that the 19 th century continued until 1914 in Vienna, when World War I broke out. Kaiser Franz-Josef ascended the throne in 1848 during the time of revolution and stayed as Kaiser even after the unification of all Germany by Prussia, until 1916 when he died. It thus can be said that the period of Kaiser Franz-Josef was the high time for Vienna which, under hard situation of wars and revolutions, fostered its unparalleled culture. In order to look at this unique Viennese culture, we describe Wienerlieder and related music and discuss them in connection with people in Vienna during the time of turning of the century until Anschluss. 1. Wiener Lieblinge aus seinerzeit. In 1934 there was a song "Der Doktor Lueger hat mir die Hand gereicht (Once Doc tor Lueger gave me his hand)'' which was among "Wiener Lieblinge von seinerzeit" sung by the people of Vienna at the time. -
570034Bk Hasse
DDD STRAUSS FAMILY 8.225353 Favourite Dances Vienna Johann Strauss Orchestra Johannes Wildner Johann Strauss I (1804−1849) overflowing Golden Hall and personally performed their new personal history for Josef Strauss. During the carnival Radetzky-Marsch, Op. 228 works. season of 1863, doctors had forbidden his brother Johann The decorative first piano edition of Johann Straussʼs any mental exertion – including composing – in view of his Johann Strauss II (1825−1899) evocative waltz Geschichten aus dem Wienerwald (Tales deep depression. Josef stepped in and provided all the Der Zigeunerbaron: Overture • Geschichten aus dem Wienerwald, Waltz, Op. 325 from the Vienna Woods) Op. 325 carries the composerʼs dedication compositions for the magnificent Studentʼs Ball, Annen-Polka, Op. 117 • Unter Donner und Blitz, Polka, Op. 324 • Maskenball-Quadrille, Op. 272 respectful dedication to his Highness Prince Constantin zu held on 11th February 1863 in the ballrooms at the Imperial Hohenlohe-Schillingsfürst, and the work was almost certainly Palace. Viennaʼs university students had organised an An der schönen blauen Donau, Waltz, Op. 314 • Champagner-Polka, Op. 211 given its world première at a private soirée in the princeʼs Association for the Sick as a way to provide needy students Josef Strauss (1827−1870) sixteenth-century palace in the Augarten, Vienna, during with opportunities for recovery and convalescence. The Dynamiden Waltz, Op. 173 • Jokey-Polka, Op. 278 • Auf Ferienreisen!, Polka, Op. 133 summer 1868. A particularly strong impression was made by goals set by the Association and the use intended for the the waltzʼs expansive introduction of 122 bars, a rustic tone- considerable proceeds to be obtained from the Ball explain poem evocative of the countryside of the Wienerwald, the the title and the form of the composition which Josef Strauss Johann Strauss was born in Vienna in 1804, and in 1816 final Allegro sections of the piece. -
BLASMUSIKFORSCHUNG Mitteilungen Des Dokumentationszentrums Des Österr
BLASMUSIKFORSCHUNG Mitteilungen des Dokumentationszentrums des Österr. Blasmusikverbandes Nr. 39 – Juli/August 2018 Weisenbläser-Seminar und Jodel-Seminar in Oberwölz Im Rahmen der „Langen Nacht der Museen“ am 6. Oktober 2018 wird im Österreichischen Blasmusikmuseum Oberwölz ein Weisenbläser-Seminar mit Stefan Neussl und ein Jodel-Seminar mit Hannes Maderebner, Claudia Zwischenbrugger und Willi Mayer durchgeführt. Die aktive Teilnahme bei einem Seminar kostet 50 €, beim Weisenbläser-Seminar ist auch die passive Teilnahme möglich. Alle weiteren Informationen und ein Anmeldeformular ist auf der Homepage www.blasmusikmuseum.istsuper.com zu finden. Anmeldeschluss ist der 23.9.2018. Das Blasmusikmuseum, die Sonderausstellung und die Präsentation des Österreichischen Blasmusikverbandes sind bis Ende Oktober täglich von 10 bis 12 Uhr und von 14 bis 18 Uhr sowie für Gruppen gegen Voranmeldung auch außerhalb dieser Zeiten geöffnet (Informationen: www.blasmusikmuseum.istsuper.com). Wir laden alle ganz herzlich zum Besuch ein! Elisabeth Anzenberger-Ramminger Objekt des Monats: Siegelring des k. (u.) k. Militärkapellmeisters Franz Josef Zinke Das Dokumentationszentrum des Österreichischen Blasmusikverbandes hat von Urenkel Dr. Wilfried Helliger bereits vor einigen Jahren den Nachlass des k. (u.) k. Militärkapellmeisters Franz Josef Zinke geschenkt bekommen. Bereits zweimal waren sehr interessante Objekte daraus „Objekt des Monats“: sein Ehrentaktstock (Blasmusikforschung Nr. 18, Jänner/Feber 2015) und seine Repertoirelisten (Blasmusikforschung Nr. 28, Oktober/November 2016). Neben diesen beiden Unikaten erhielt unser Verband heuer als „Nachtrag“ von Dr. Helliger den ebenfalls einzigartigen goldenen Siegelring von Militärkapellmeister Zinke, der erst vor kurzem „aufge- taucht“ ist. Im oberen Teil des „Stempels“ des Siegelrings ist eine Lyra zu sehen, die von zwei Zweigen durchkreuzt wird – im Gegen- satz zu der beim Militär üblichen schwertdurchkreuzten Lyra, wie sie auch auf den Rockaufschlägen der Militärkapell- meister zu finden war. -
Joseph LANNER Viennese Dances Tarantula Galop Witches’ Dance Waltz Midnight Waltz
Joseph LANNER Viennese Dances Tarantula Galop Witches’ Dance Waltz Midnight Waltz Orchestre de Cannes Wolfgang Dörner Joseph Lanner (1801-43) two-part galop, and St Catherine by the Slavonic dance, in melody is propelled along by a series of dotted figures fact a very gracious waltz, also in two parts. The concluding and echo effects. The finale uses both accelerando and Viennese Dances recurrence of the fanfare is very full and splendid. crescendo and suddenly introduces a surprise melody in Joseph Lanner, inventor of the formal Viennese waltz, 2 Hexentanz Waltz, Op. 203 the coda, borne along by bouncing figures in the strings. was born in Vienna on 12th April 1801. At the age of 12 4 Hofball-Tänze, Op. 161 he joined the orchestra of Michael Pamer, but at 17 This was premièred in February 1843 in Dommayer’s 7 Mitternachts Waltz, Op. 8 decided to form his own ensemble to play in coffee Casino. It is one of the composer’s most mature works, with More stately in mood are these dances of 1840, written for houses and restaurants, later with the assistance of harmonies and tonal effects unprecedented at the time in a one of the first Court Balls at which Lanner presided as This early work, written for the farewell benefit of Michael Johann Strauss I (the father of Johann Strauss II), who formal waltz. It relates to the mummery of Carnival, and has music director. A processional 4/4 introduction creates an Pamer on 19th October 1826, represents the ancient then left to make his own career.