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Hanns Eisler Sophie Koch Masur Eike Eike Wilm Schulte Wilm Kurt Rydl Eliahu Inbal Lothar Zagrosek Karl Marx Marx Fischer Igor Stravinsky Aaron Copland Leonard Bernstein Leipzig Gewandhaus Orchestra Gewandhaus 1240 1544 1805 1898 1927 1934 1935 1937 1947 1948 1956 1957 1959 1962 1992 1995 1998
Hanns Eisler (6 July 1898 – 6 September 1962) was an Austrian composer (his father was Austrian, and Eisler fought in a Hungarian regiment in World War I). He is best known for composing the national anthem of East Germany, for his long artistic association with Bertolt Brecht, and for the scores he wrote for films. The Hochschule für Musik "Hanns Eisler" is named after him. Please support my channel: (http•••) Deutsche Sinfonie, Op. 50 1. Präludium (1) (0:00) 2. An die Kämpfer in den Konzentrationslagern [To the fighters in the concentration camps] (2) (5:28) 3. Etüde für Orchester (9:20) 4. Erinnerung (Potsdam) [Memory] +••.••(...):40) 5. In Sonnenburg +••.••(...):44) 6. Intermezzo für Orchester (18:05) 7. Begräbnis des Hetzers im Zinksarg [Burial of the trouble-maker in a zinc coffin] +••.••(...):29) 8. Bauernskantate: A. Mißernte, B. Sicherheit, C. Flüstergespräche, D. Bauernliedchen [Peasant Cantata: A. Crop failure, B. Security, C. Dialogue in whispers, D. Sickle song] (Omitted due to copyright) 9. Arbeiterkantate [Song of the class enemy] +••.••(...):25) 10. Allegro für Orchester (41:35) 11. Epilog (52:21) Sophie Koch I; Carolyn Masur, Mezzo-Soprano II & Alt. Eike Wilm Schulte, Bariton/Bass; Kurt Rydl, Bass Radio France Philharmonic Orchestra and Chorus conducted by Eliahu Inbal Movements 3, 6, 10 and 11 Fragments from the movie "Berlin - Symphonie einer Groszstadt" (1927) von Walther Ruttmann were used. Movement 8 has been omitted due to copyright. Deutsche Sinfonie, Op. 50, is a composition for soloists, chorus and orchestra by Hanns Eisler. Despite the title, it is considered to be more in the style of a cantata than a symphony. Principally composed between 1935 and 1947, but not completed until 1957, it is an eleven-movement setting of poems by Bertolt Brecht, drawn mainly from Brecht's Songs, Poems and Choruses of 1934, and by Ignazio Silone, adapted by Eisler. It was premiered in its full form at the German State Opera, East Berlin, on 24 April 1959. Brecht had died in 1956. Eisler's theme was the advance of Nazism in Germany. Yet the composer encountered difficulties in both reception and performance of the work throughout its long period of composition and development. When the first two movements (at this stage subtitled An Anti-Hitler Symphony) won a prize at the 15th Festival of the International Society for Contemporary Music, gaining a promised performance of them at the 1937 Paris World Exhibition, the Nazi regime persuaded the French government to have the performance cancelled. And it was not until 1995 that the work was finally given a studio recording, with soloists and the Leipzig Gewandhaus Orchestra under Lothar Zagrosek; this was released in Decca Records' Entartete Musik series. Eisler's promising career in the U.S. was interrupted by the Cold War. He was one of the first artists placed on the Hollywood blacklist by the film studio bosses. In two interrogations by the House Committee on Un-American Activities, the composer was accused of being "the Karl Marx of music" and the chief Soviet agent in Hollywood. Among his accusers was his sister Ruth Fischer, who also testified before the Committee that her other brother, Gerhart, was a Communist agent. The Communist press denounced her as a "German Trotskyite." Among the works that Eisler composed for the Communist Party was the "Comintern March", including the words "The Comintern calls you / Raise high the Soviet banner / In steeled ranks to battle / Raise sickle and hammer." His supporters Eisler's supporters—including his friend Charlie Chaplin and the composers Igor Stravinsky, Aaron Copland and Leonard Bernstein—organized benefit concerts to raise money for his defense fund, but he was deported early in 1948. Folksinger Woody Guthrie protested the composer's deportation in his lyrics for "Eisler on the Go"—recorded fifty years later by Billy Bragg and Wilco on the Mermaid Avenue album (1998). In the song, an introspective Guthrie asked himself what he would do if called to testify before the House Committee on Un-American Activities: "I don't know what I'll do / I don't know what I'll do / Eisler's on the come and go / and I don't know what I'll do. Hanns Eisler chose to emigrate to the US instead of the Soviet Union, when asked why, he stated that the abhorred Stalin. To get better insight in the man and times watch the German documentary (1992) Hanns Eisler - Komponist +••.••(...)) (http•••)
Antonio Vivaldi Stravinski Aaron Copland André Jolivet Ionel Perlea Constantin Silvestri Lorin Maazel Leopold Stokowsky Carlo Zecchi Claudio Arrau Aldo Ciccolini Sviatoslav Richter Nikita Magaloff Emil Ghilels Isaac Stern Yehudi Menuhin Henryk Szeryng Enrico Mainardi Luciano Pavarotti Montserrat Caballé Ciprian Porumbescu Iosif Conta Mircea Basarab Mircea Cristescu Baci Igor Markevitch George Georgescu Oistrakh Weber Bruhns Bozza Bitsch George Enescu Sergiu Celibidache 1956 1979 2003
Fagotist, solist concertist, conducător la Cvintetului de suflători „Concordia", profesor universitar de fagot, a făcut o impresionantă carieră muzicală, fiind unul dintre marii fagotişti ai lumii contemporane. A cântat în Orchestra Naţională Radio timp de 47 de ani +••.••(...) octombrie 2003), dând strălucire instrumentului său. Ca solist, s-a impus pe scene româneşti şi din străinătate, impresionând printr-o muzicalitate aparte, sensibilitate, ton personal, tehnică excepţională, un repertoriu amplu care cuprinde o literatură muzicală diversă, de la concertele pentru fagot de Vivaldi şi Mozart la piese de compozitori contemporani, multe dintre ele fiindu-i dedicate (a cântat în primă audiţie mondială 149 de compoziţii care au fost scrise special pentru el de nume mari ale muzicii contemporane). Miltiade Nenoiu a avut ocazia să-i întâlnească pe Stravinski şi Şostakovici şi să colaboreze cu Aaron Copland, André Jolivet, Aram Haciaturian, Mihail Jora, Ionel Perlea, Constantin Silvestri, Lorin Maazel, Leopold Stokowsky, Carlo Zecchi, Claudio Arrau, Aldo Ciccolini, Sviatoslav Richter, Nikita Magaloff, Emil Ghilels, David Oistrah, Isaac Stern, Yehudi Menuhin, Henryk Szeryng, Enrico Mainardi, Mstislav Rostropovici, Luciano Pavarotti, Placido Domingo, Ileana Cotrubaş, Montserrat Caballé ş.a. A înregistrat 13 CD-uri. În 1979 a înfiinţat Cvintetul de suflători „Concordia", una dintre cele mai bune formaţii de gen, care are un palmares de 557 de concerte în România şi în străinătate şi peste 8000 de minute de înregistrări la Radiodifuziunile din Bucureşti, Zürich, Paris, Stuttgart, Baden-Baden, Lisabona, Copenhaga, Mannheim, participări la festivaluri prestigioase. Miltiade Nenoiu is a Ciprian Porumbescu Conservatory graduate and is currently principal bassoonist of the Romanian Radio-Television Symphony Orchestra. He has worked with leading Romanian and foreign musicians such as Iosif Conta, Mircea Basarab, Emanuel Elenescu, Mircea Cristescu, Ludovic Baci, Leopold Stokowski, Ionel Perlea, Constantin Silvestri, Igor Markevitch, George Georgescu, Isaac Stern, Oistrakh, Mainardi, Menuhin, Szeryng, Arrau and Zecchi. His repertoire, which he has performed in Bucharest stages and on tours in Darmstadt, Vienna, Lisbon, Heidelberg, Paris and elsewhere, includes concertos by Vivaldi, Mozart, Weber, Bruhns, Bozza, Jolivet, Bitsch, piano pieces, sonatas, works for unaccompanied bassoon, some of which were written for him. Miltiade Nenoiu has also been in the limelight as spearhead of the prestigious wind quintet Concordia, as a teacher at the George Enescu Art High School in Bucharest and as author of a volume of poetry, Preludiu la unison (Prelude in Unison) and of verse to which several musical works have been set (Ludovic Bacs's Cercuri (Circles) and Mihai Moldovan's Meditaţii la trei poeme (Meditations on Three Poems)) Cristian Brâncuşi is a graduate of the Ciprian Porumbescu Conservatory who studied with Constantin Bugeanu and Ştefan Niculescu and then under the guidance of Sergiu Celibidache. Cristian Brâncuşi, currently conductor of the Romanian Radio-Television Orchestras, is also a composer of instrumental and orchestral works in which he produces a remarkable science of analysis of the musical language. In a radio programme Doru Popovici, praising this representative of the young generation, named Cristian Brâncuşi's chief qualities as being "sobriety, profoundness and mastery". Martha Popovici (English version bz Magda Morait)
Jurriaan Andriessen Andriessen Hendrik Andriessen Otterloo Messiaen Koussevitzky Rhein Een Copland Berg Tanglewood Deutsche Oper 1925 1947 1949 1951 1952 1953 1954 1961 1966 1973 1980 1996
Jurriaan Andriessen +••.••(...)) Vier gedichten van Revius : voor mezzo sopraan en harp (clavecimbel, orgel of piano) (1961) Prelude - 00:00 Mijn lief is wit - 00:43 Hoe onsalich was de stonde - 02:10 Waer is u lief - 03:47 Ick hoor de stercke stemme van mijnen trouwen vrient - 05:14 Postlude - 06:48 Rachel Ann Morgan, mezzo soprano & harp Jurriaan Andriessen was a composer and son of Hendrik Andriessen. He was taught composition at the Utrecht Conservatory by his father and he later studied instrumentation and conducting with Willem van Otterloo and the piano with André Jurres and Gerard Hengeveld. After his final examinations in 1947, he spent several months in Paris with the particular aim of studying film music. There he also took lessons with Messiaen. On returning to the Netherlands, he was commissioned to write the incidental music for the open-air play Het wonderlijke uur ('The Miraculous Hour'), performed in celebration of the 50th anniverary of Queen Wilhelmina's accession; this was his first score for the stage. From 1949 to 1951 he was in the USA on a Rockefeller Foundation Fellowship, and it was there that he wrote the Tanglewood Overture for Koussevitzky and, to a commission from the Dutch government, the Berkshire Symphonies (1949), a work to which Balanchine and Robbins created the ballet Jones Beach, which was given in New York and in many European cities. Andriessen made several visits to Italy and Germany during the period 1951--1953, and at this time he composed two ballet scores: Das Goldfischglas (1952) for the Deutsche Oper am Rhein and De canapé (1953) for the Netherlands Opera. In 1954 he was appointed resident composer to the Haagse Comedie; one of the first scores resulting from this appointment was that for Mourning becomes Electra, from which Andriessen made a widely performed orchestral suite. Much successful incidental music followed, and further derived concert pieces, including Les bransles érotiques from the score for Rosencrantz and Guildenstern are Dead. In his music for The Tempest (1953) he used electronics for the first time. Andriessen also composed a quantity of music for radio, television and film in addition to his copious output of orchestral and chamber works and pieces for amateurs. He was highly regarded as a composer of occasional music: his commissions include music for the wedding of Princess Beatrix (Entrata Festiva, 1966), the silver jubilee of Queen Juliana (Een Prince van Orangien, 1973) and the coronation of Queen Beatrix (Entrata della regina, 1980). Andriessen has also conducted his own compositions and worked as a television director. His music exhibits sound professional skill in a style that draws on diverse recently developed techniques without being bound to any specific system. The same attitude is to be found in the work of a number of Dutch composers in the period following World War II, responding to a great hunger for art and relaxation. Influences include American film and theatre music, Copland's ballet scores, Stravinskian neo-classicism, and folk music, both from the regions of the Netherlands and from distant cultures such as Peru. In the second part of the Berkshire Symphonies, Andriessen makes use of the 12-note row from the second part of Berg's Lyric Suite, though the series is used melodically and not elaborated dodecaphonically. Such an eclectic mix was outstandingly well suited to music as dramatic accompaniment, but his concert works sometimes lack a powerful, personal stamp.
Jan Degaetani Johannes Brahms George Crumb Peter Maxwell Davies Maxwell Richard Wernick William Schuman Elliott Carter Arnold Schoenberg Hugo Wolf Hector Berlioz Gustav Mahler John Dowland Aaron Copland Dickinson Stephen Foster Charles Ives Bach Garner Dawn Upshaw Karen Holvik Renée Fleming Milagro Vargas Vargas Philadelphia Orchestra Berliner Philharmoniker Bbc Symphony Orchestra Symphony Orchestra Chicago Chamber Music Society Lincoln Center Lincoln Center 1933 1958 1970 1973 1982 1983 1989
THIS IS THE SUCCESSOR CHANNEL TO "liederoperagreats" WHICH WAS RECENTLY TERMINATED. Jan DeGaetani--mezzo-soprano Gilbert Kalish--piano 1983 / "Born: July 10, 1933 - Massillon, Ohio, USA Died: September 15, 1989 - Rochester, New York, USA The Americam mezzo-soprano, Jan (Janice) DeGaetani, studied voice at the Juilliard School of Music in New York with Sergius Kagen. Jan DeGaetani made her debut in New York in 1958. Jan DeGaetani was best known for her wide range, precise pitch, clear tone, and command of extended techniques that made her voice perfectly suited to the demanding style of modern and avant-garde vocal composition. Her international reputation was established when she sang the premiere of George Crumb's Ancient Voices of Children in 1970 at the Library of Congress in Washington, D.C. Her collaboration with George Crumb was a fruitful one; and many of his works were written for her. She has also sung the premieres of works by Peter Maxwell Davies (A stone litany; Black Pentecost), Richard Wernick (Visions of wonder and terror), William Schuman (In sweet music), and Elliott Carter (Syringa). Her recording of Arnold Schoenberg's song cycle Pierrot lunaire is one of the classic recordings of the piece. (Due to its use of atonality, wide range, and virtuoso techniques such as sprechstimme, all while requiring a lyrical sensibility, it is exceptionally difficult to sing.) Uncommonly for a singer of her caliber (though her voice was not as powerful as most), Jan DeGaetani rarely appeared in opera, instead concentrating on solo recital work in the art song literature. Although best known for her singing of contemporary music, she sang a wide variety of music. Her talent at foreign languages also made her an accomplished interpreter of German Lieder and French mélodies; she sang and recorded works by composers such as Hugo Wolf, Hector Berlioz, and Gustav Mahler and was noted for her intelligence and skillful analytical interpretation. Her interpretive skills also lent themselves to songs in her native tongue of English, such as songs of John Dowland, Aaron Copland's 12 Poems of Emily Dickinson, and the songs of Stephen Foster and Charles Ives. On the other end of the spectrum, DeGaetani was also a noted performer of the medieval (Play of Herod) and Renaissance repertoire. In 1982 she performed several works of J.S. Bach at the Baldwin-Wallace College Bach Festival. During her career, Jan DeGaetani appeared with most of the major English and American orchestras, usually in works by contemporary composers, including the New York Philharmonic Orchestra, Philadelphia Orchestra, Berliner Philharmoniker, BBC Symphony Orchestra, and Chicago Symphony Orchestra, and made numerous recordings with them and in chamber ensembles. Her regular appearances with the Contemporary Chamber Ensemble evoked many fine performances, including A. Schoenberg's Pierrot Lunaire. She also appeared with the Chamber Music Society of Lincoln Center and with Speculum Musicae. Always an intelligent performer, Jan DeGaetani had a voice with great expressive range; she was one of the rare singers of contemporary music to garner not only critical praise, but also popularity with the general public. In 1973, she was appointed a professor of voice at the Eastman School of Music in Rochester, New York, where she remained on the faculty until her death. During the summers, she also taught at the Aspen Music Festival, where she was Artist in Residence from 1973 until her death. Notable students include American sopranos Dawn Upshaw, Karen Holvik, Renée Fleming, mezzo-soprano Milagro Vargas, and baritone William Sharp. She often gave master-classes in conjunction with her recital tours in order to pass her love of contemporary music on to the next generation. She died in 1989, at age 56, of leukemia."; bach-cantatas.com
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