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Beethoven Louis Persinger Klindworth Scharwenka Hermann Scherchen Josef Stránský Richard Wagner Paul Scheinpflug Eugene Ormandy Pietro Mascagni Oskar Fried Blüthner Orchester Konzerthausorchester Berlin 1770 1827 1853 1907 1909 1910 1913 1915 1917 1919 1924 1925 1928 2021
Ludwig van Beethoven +••.••(...)) EGMONT Ouvertüre zu dem gleichnamigen Schauspiel von Johann Wolfgang von Goethe. Es spielt das Blüthner-Orchester, Berlin unter der Leitung von Bruno Weyersberg. Schallplatte (30 cm) der Marke "CONTENENTAL" (Offensichtlich eine Aufnahme von Kalliope, Leipzig, um 1913) Schrankgrammophon der Marke "GRANDIOSA" (Kötzschenbroda bei Dresden) (um 1928) Musikkabinett Augustusburg (C) JE 02/2021 Das Blüthner-Orchester war ein 1907 in Berlin gegründetes Sinfonieorchester, das ab 1925 als Berliner Symphonie-Orchester (vgl. Konzerthausorchester Berlin) weitergeführt wurde. Es wurde nach seinem Sponsor benannt, der „Julius Blüthner Pianofortefabrik GmbH“, die 1853 vom Klavierbauer Julius Blüthner in Leipzig gegründet worden war. Sie gehört heute neben Steinway & Sons, Bösendorfer und Carl Bechstein zu den führenden Pianoherstellern weltweit. Das mit erheblichen Geldmitteln unterstützte Orchester suchte talentierte Musiker, sein erster Konzertmeister war Louis Persinger. Sein Domizil war der „Blüthner-Saal“, einem großen, zum Klindworth-Scharwenka-Konservatorium gehörenden Konzertsaal in der Genthiner Straße 11 (Berlin-Tiergarten). Im Gründungsjahr 1907 begann der Bratschist Hermann Scherchen beim Orchester seine Laufbahn. Von 1909 bis 1910 übernahm der Dirigent Josef Stránský die Leitung des Orchesters. Unter ihm wurde am 15. Dezember 1910 Edgard Varèses erste symphonische Dichtung „Bourgogne“ uraufgeführt. 1913 spielte das Orchester für die deutsche Plattenfirma Anker Record erstmals den ersten Akt aus Die Walküre von Richard Wagner unter Leitung von Edmund von Strauß ein. Das Blüthner-Orchester trat außerhalb Berlins auch deutschlandweit auf. Das von der Kritik sehr gelobte Blüthner-Orchester unter der Leitung von Paul Scheinpflug war in Berlin populär, insbesondere seine Sonntags-Sinfoniekonzerte mit dem gängigen und populären klassischen und romantischen Repertoire im Blüthner-Saal. 1915 kam Violinist Adalbert Luczkowski vom Schwarwenka-Konservatorium zum Orchester, 1917 gab es unter Eugene Ormandy eine Tournee durch Ungarn. Die Beteiligung des Blüthner-Orchesters im Januar 1919 an einem von der Berliner SPD organisierten Neujahrskonzert, also einem „proletarischen Konzert“, war wohl weniger auf die Favorisierung einer bestimmten politischen Linie durch das Orchester als vielmehr auf sein Bestreben um Popularität zurückzuführen. Es kam zu einem Skandal um das Orchester, als es nach der Ermordung von Karl Liebknecht und Rosa Luxemburg am 15. Januar 1919 auf deren Totenfeier spielte. Nur eine Entschuldigung des Dirigenten Paul Scheinpflug konnte das Orchester wieder rehabilitieren.[4] Eines der letzten berühmten Konzerte unter dem Namen „Blüthner-Orchester“ fand am 16. Oktober 1924 im Sportpalast Berlin unter Pietro Mascagni statt. Im Mai 1925 wurden seine Musiker vom Berliner Symphonie-Orchester unter der Leitung von Oskar Fried übernommen. Das Blüthner-Orchester hatte aufgehört zu existieren. (Quelle: Wikipedia)
Sergei Bortkiewicz Anatoly Lyadov Salomon Jadassohn Franz Liszt Schumann Klindworth Scharwenka Chopin Tchaikovsky Rachmaninoff Scriabin Blüthner Orchestra 1877 1888 1900 1902 1904 1913 1914 1923 1932 1952 1967
First published in 1932. Bortkiewicz +••.••(...)) was a Ukrainian Romantic composer and pianist of Polish ancestry. Bortkiewicz received his musical training from Anatoly Lyadov and Karl von Arek at the Imperial Conservatory of Music in Saint Petersburg. In 1900 he left Saint Petersburg and traveled to Leipzig, where he became a student of Alfred Reisenauer and Salomon Jadassohn, both pupils of Franz Liszt. In July 1902, Bortkiewicz completed his studies at the Leipzig Conservatory and was awarded the Schumann Prize on graduation. On his return to the Russian Empire in 1904, he married Elisabeth Geraklitowa, a friend of his sister, and then returned to Germany, where he settled in Berlin. It was there that he started to compose seriously. From 1904 until 1914, Bortkiewicz continued to live in Berlin but spent his summers visiting his family in Ukraine or travelling around Europe often on concert tours. For a year he also taught at the Klindworth-Scharwenka Conservatory, where he was to meet his lifelong friend, the Dutch pianist Hugo van Dalen (1888–1967). Van Dalen premiered Bortkiewicz's Piano Concerto No. 1, Op. 16, in November 1913 in Berlin with the Blüthner Orchestra conducted by the composer. Bortkiewicz's piano style was very much based on Liszt and Chopin, nurtured by Tchaikovsky, Rachmaninoff, early Scriabin, Wagner and Ukrainian folklore. The composer never saw himself as a "modernist", as can be seen from his Künstlerisches Glaubensbekenntnis, written in 1923. His workmanship is meticulous, his imagination colourful and sensitive, his piano writing idiomatic; a lush instrumentation underlines the essential sentimentality of the melodic invention. / - A method to find scores: (http•••) - My donation link to keep the channel growing: (http•••) Thanks for listening :-)
Wallingford Constantine Riegger Haussmann Max Bruch Edgar Stillman Kelley Stillman Drake Paderewski Charles Ives Henry Cowell Carl Ruggles Johnston Stadttheater Würzburg Blüthner Orchestra 1885 1900 1904 1907 1910 1914 1916 1917 1920 1922 1923 1926 1931 1932 1941 1948 1961 1976 1995
00:00 - I. Moderato 02:15 - II. Allegretto grazioso 05:55 - II. Allegro / Bassoon: Donald MacCourt Clarinet: Charles Neidlich Flute: Samuel Baron Oboe: Ronald Roseman Year of Recording: 1995 / "American composer Wallingford Riegger was a proponent of none of the major twentieth century "schools" of composition, and until the very end of his long career he received little more than cursory notice from the American musical establishment. Nevertheless, his 75 completed compositions have proved a source of enrichment to several generations of musicians who are drawn to Riegger's unique brand of modernism. Riegger was born into a musically rich Georgia family in 1885, and was taught piano and violin from an early age. Riegger added the cello to his musical pursuits when the family decided to form a private string quartet in 1900. After a year at Cornell University (1904), Riegger enrolled at the newly formed Institute of Musical Arts in New York as a student of both cello and composition. After graduating from the Institute in 1907, Riegger traveled to Germany, where he took cello lessons from Robert Haussmann, and studied composition with Max Bruch and Edgar Stillman-Kelley. Riegger found employment as a cellist with the St. Paul Orchestra upon returning to the United States in 1910, but by 1914 he found himself back in Germany, working first as an opera conductor (Stadttheater of Würzburg) and then, during the 1916-1917 season, as conductor of the Blüthner Orchestra in Berlin. Riegger was lured back to the United States by the prospect of becoming professor of cello at Drake University in Iowa, a position which would offer him enough flexibility to pursue composition in a more serious way. His first published work, the Piano Trio Op.1 from (1920) was awarded the Paderewski Prize and gained Riegger some national attention, but during the next few years he began to question the long-term merits of his conservative musical style. From 1923 to 1926 he retired from active composition to sort out his own personal views on the future of music. By the late '20s, Riegger had aligned himself with progressive composers Charles Ives, Henry Cowell, and Carl Ruggles, adopting a more dissonant but still fiercely independent, compositional language. This new language appears fully developed in the 1932 orchestra work Dichotomy. Unfortunately, this new musical direction failed to bring any recognition and financial reward. After he resigned from Drake University in 1922, Riegger was forced to work as an editor and musical arranger to make ends meet. During the 1930s, an interest in modern dance led the composer to write almost exclusively for leaders in that field, including Martha Graham and José Limon. By 1941 Riegger had tired of his increasing isolation from other musicians and he recommitted himself to instrumental composition, this time with greater financial and popular success. The premiere of the Symphony No.3 in 1948 provided him national exposure, and he remained in the front rank of American composers until his death in 1961. Later works employ 12-tone techniques in a very free manner." (Blair Johnston) / Note: As there was not a title page for the score of this piece, I have instead put an image of the dedicatee alongside the composer. / COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Mahler Hermann Scherchen Schott Reinhart Schoenberg Richard Strauss Anton Webern Alban Berg Edgard Varèse Iannis Xenakis Luigi Nono Macchi Bélanger Françoys Bernier Bernier Belinfante Karl Amadeus Hartmann Travis Bach Vivaldi Reinhold Glière Vasily Safonov Leopold Stokowski Ian Wallace Orchester Musikkollegium Winterthur Bbc Symphony Orchestra Toronto Chamber Orchestra 1891 1907 1912 1914 1916 1918 1922 1928 1933 1936 1946 1950 1953 1954 1964 1966 2011
Mahler IN Lumbini Buddha birth place ,SymphonyNo9,Hermann Scherchen,1950 マーラー 交響曲第9番ニ長調 ヘルマン・シェルヘン ウィーンso 原版:ブッダの生誕地ルンビニで聴くマーラー最後の交響曲『第9番』ヘルマン・シェルヘン ウィーンso 1950 のコピー V. Adagio - Hermann Scherchen サウンド レコーディング 9:51 - 20:05 一致を再生 NaxosofAmerica 権利所有者: Orfeo 著作権者によって収益化されています ヘルマン・シェルヘン(Hermann Scherchen、1891年6月21日 - 1966年6月12日)は、ドイツ出身の指揮者[1]、作曲家。現代音楽の推進者として知られた。「ヘルマン・シェルヒェン」とも呼ばれる。 生涯 ベルリンの酒場の息子として生まれ、ヴィオラを学ぶ。家計が苦しく、1907年からブリュートナー管弦楽団、ベルリン・フィル、クロール・オペラなどでヴィオラ奏者として活動する一方、ナイトクラブなどでも演奏した。 1912年にはシェーンベルクとそのグループに出会い、11月5日、ミュンヘンでシェーンベルクの『月に憑かれたピエロ』を演奏し、指揮者としてデビューした。リガ交響楽団の指揮者としてロシアに滞在中、第一次世界大戦が勃発し、捕虜として抑留されたが、音楽活動は継続、弦楽四重奏曲などの作曲を行った。 1918年にベルリンに戻り、以後、ドイツを中心としたヨーロッパ各地のオーケストラで指揮活動を行った。ヒンデミットやクルシェネク、オネゲルなど現代音楽の初演も数多い。一方で、音楽教育や、労働者合唱団の指導にも力が注がれ、さらに新音楽擁護のための雑誌を発刊するなど、精力的に活動した。 シェルヘン自身はアシュケナジム・ユダヤ系ではなかったが、1933年にナチス政権が成立すると、これに反対してスイスに移住、第二次世界大戦が始まるまでは、ドイツを除く欧州諸国のほか、パレスチナや中国にまで足を伸ばした。1936年には、本番直前に指揮をキャンセルしたヴェーベルンの代役として、ベルクのヴァイオリン協奏曲をルイス・クラスナーとともにバルセロナで初演している。しかし、開戦後はほぼスイス国内のみに活動範囲が制約された。 戦争終結後は南米やトルコへ演奏旅行を行うなど活発な活動を再開、また、新しいレコード会社ウェストミンスターに参加、1950年以降ウィーンで数多くのレコーディングを行った。現代音楽のための活動も一貫して続け、ノーノやクセナキス、シュトックハウゼンなどの作品を初演したほか、1950年に出版社「Ars Viva」を設立、1954年にはグラヴェザーノに電子音楽スタジオを開設している。1964年に初めてアメリカを訪れ、フィラデルフィア管弦楽団を指揮して大成功をおさめた。 1966年6月7日、フィレンツェの歌劇場でマリピエロの「オルフェオ」を上演中に倒れ、5日後に市内のホテルでこの世を去った。 シェルヘンはいち早く前衛的な現代作品の価値を認め、晩年にいたるまでその演奏に力を尽くした。シェルヘンが行った多くの初演は、時に聴衆に大きなショックを与え、音楽界におけるスキャンダルになることもあった。しかし、彼は不屈の闘志を持って難解な作品の紹介を続け、20世紀の音楽史に大きな足跡を残した。彼の努力により、世に認められるようになった作曲家も少なくない。特に有名なのはデビュー当時のイヤニス・クセナキスを絶賛したことである。彼が指揮した「テレテクトール」の初演は死の数ヶ月前であった。 教育者としての業績も大きく、彼の弟子やアシスタントをつとめた指揮者として、カレル・アンチェル、イーゴリ・マルケヴィッチ、ブルーノ・マデルナ、エルネスト・ブール、エレラ・デ・ラ・フエンテ、ピエール・コロンボ、フランシス・トラヴィスらを挙げることができる。 シェルヘンのレパートリーは極めて幅広く、バロック、古典派以前から、当時最先端の現代音楽までをその範囲としていたが、J.S.バッハ(とりわけ「フーガの技法」)、ベートーヴェン、マーラー、さらにシェーンベルクなどの新ウィーン楽派の作品を特に愛好していた。演奏スタイルは基本的には知的で明晰なものを指向していたが、一方(特に古典作品で)伝統に反旗を翻すような奇抜な解釈による演奏を行うこともあり、さらに実演では表現主義的な激しさを見せることもまた多かった。 主要著作 Lehrbuch des Dirigierens: Mit zahlreichen Notenbeispielen, Schott Music, 2011. ISBN 3795727812 Musik für jedermann, Mondial-Verl., 1950. Vom Wesen der Musik, Mondial-Verl., 1946. Scherchen was born in Berlin. Originally a violist, he played among the violas of the Bluthner Orchestra of Berlin while still in his teens. He conducted in Riga from 1914 to 1916 and in Königsberg from 1928 to 1933, after which he left Germany in protest at the Nazi regime and worked in Switzerland. Along with the philanthropist Werner Reinhart, Scherchen played a leading role in shaping the musical life of Winterthur for many years, with numerous premiere performances, the emphasis being placed on contemporary music. From 1922 to 1950 he was the principal conductor of the city orchestra Winterthur (today known as Orchester Musikkollegium Winterthur).[1] Making his debut with Schoenberg's Pierrot Lunaire, he was a champion of 20th-century composers such as Richard Strauss, Anton Webern, Alban Berg and Edgard Varèse, and actively promoted the work of younger contemporary composers including Iannis Xenakis, Luigi Nono and Leon Schidlowsky.[2] He was the teacher of Egisto Macchi, Marc Bélanger, Françoys Bernier, Frieda Belinfante and Karl Amadeus Hartmann, and contributed to the libretto of Hartmann's opera Simplicius Simplicissimus. He also premiered Hartmann's early work Miserae. Conductor Francis Travis was a pupil, then conducting assistant, for five years. He is probably best known for his orchestral arrangement (and recording) of Bach's The Art of Fugue. His 1953 "Lehrbuch des Dirigierens" (Treatise on Conducting, ISBN 3-7957-2780-4) is a standard textbook. His recorded repertoire was extremely wide, ranging from Vivaldi to Reinhold Glière. Like Vasily Safonov and (in later life) Leopold Stokowski, Scherchen commonly avoided the use of a baton.[3] His technique when in this mode sometimes caused problems for players; an unidentified BBC Symphony Orchestra bassoonist told the singer Ian Wallace that interpreting Scherchen's minuscule hand movements was like trying to milk a flying gnat.[4] According to Fritz Spiegl,[5] Scherchen worked largely through verbal instructions to his players and his scores were peppered with reminders of what he needed to say at each critical point in the music. However, Scherchen did not always dispense with the baton. The film of his rehearsal of his edition of Bach's The Art of Fugue with the CBC Toronto Chamber Orchestra shows him using a baton throughout, and very effectively.