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2024-04-30
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Max Bruch Abbadia Guida Hatto Giuranna Vladimir Mendelssohn Mendelssohn Wolfram Christ Donatoni Brizzi Scelsi Berio Salvatore Sciarrino Helmut Lachenmann Fontanelli Kurtag Terry Riley Steve Reich Giya Kancheli Vecchi Fredi Quartetto Italiano Quatuor Bordeaux 1931 1940 1942 1993 2000 2010 2013 2017 2019
Max Bruch "Romance" Op 85 in fa maggiore per viola e orchestra. Viola: Carmelo Giallombardo. " Orchestra Sinfonica della Miniera " di Abbadia San Salvatore ( Si ) CARMELO GIALLOMBARDO si diploma sotto la guida del M° Piero Farulli ( violista del leggendario Quartetto Italiano ) e successivamente viene eseguito al corso di triennale di alto perfezionamento di viola del M° Hatto Beyerle presso la Scuola di Musica di Fiesole. Nell'ambito del corso di quartetto d'archi tenuto dal M° Piero Farulli presso “L'Accademia Chigiana” (Si) gli viene assegnato il prestigioso “Diploma d'Onore”. Il suo percorso musicale lo porta a seguire anche i maestri: Bruno Giuranna, Vladimir Mendelssohn e Wolfram Christ. Il suo interesse per la musica contemporanea, lo porta ad esibirsi in Lussemburgo (musica di F. Donatoni), Berlino (Die Lange Nacht der Elektronischen Klange 2000 musiche di A. Brizzi), Monaco ( Schloss Elmau musiche di G. Scelsi ), Accademia Musicale Chigiana ( Sequenza VI e Naturale di L. Berio ), GOG di Genova (" Del che non suono fa rumore " di Fanticini ), ed a insieme con compositori di fama internazionale tra cui Salvatore Sciarrino, Stefano Scodanibbio, Fabrizio Fanticini, Helmut Lachenmann, Simone Fontanelli, Gyorgy Kurtag, Marco Uvietta, Terry Riley, , Gianluca Ulivelli, Steve Reich, Xuyi, Giya Kancheli, Luis De Pablo. Con il Quartetto Prometeo, del quale è stato il violista dalla fondazione (1993) sino al 2010, ha vinto premi in concorsi nazionali ed internazionali ("Praga di Praga International Competition" ; "Concours International de Quatuor di Bordeaux", concorso Internazionale di Quartetto "ARD" di Monaco). Ha effettuato concerti e tourneès in Europa, Giappone, Stati Uniti, Sud America e collaboratore con solisti e cameristi di fama internazionale. Nel gennaio 2017 ha pubblicato, per la casa editrice “ Edizioni Momenti “, la trascrizione per quattro viole della Sonata BWV 1001 per violino solo di JSBach. Ha tenuto masterclass presso La Washington University ( Seattle ), la Pacific University ( Forest Grove - Oregon), al conservatorio Superior de musica “ Victoria Eugenia “ di Granada. Effettuato registrazione radiofoniche per la BBC Radio 3 , RAI Radio 3, per la ORF Radio Nazionale Austriaca ,ARD di Monaco. Inciso per la BMG Ricordi spa , Real Sound, Zig Zag, Limen music, Bottega discantica, Kairos, Brilliant, Naxos. Dal 2013 al 2017 ha collaborato come violista con il “Quartetto di Roma”. E' stato docente di quartetto d' archi presso l'Istituto Pareggiato "O. Vecchi" ( Mo ), di viola presso la Scuola di Musica di Fiesole (FI ) ed è titolare della cattedra di viola presso il Conservatorio "Rinaldo Franci" (SI). Suona una viola “Rodolfo Fredi” (1940). L’Orchestra Sinfonica della Miniera di Abbadia San Salvatore è una storica formazione orchestrale, l’esordio è avvenuto nel 1931. L’Associazione Arcadia in collaborazione con il Parco Museo Minerario di Abbadia San Salvatore nel 2019 ha condotto delle ricerche presso gli Archivi Minerari Amiatini Riuniti con l’obiettivo di ricostruire storia e composizione dell’Orchestra Sinfonica. Questa si costituì nel 1931 per volere della Società Monte Amiata che fin dall’inizio della propria attività industriale promosse e sostenne lo sviluppo culturale e sociale delle comunità nelle quali era insediata l’attività estrattiva. L’Orchestra Sinfonica della Miniera fu la prima formazione orchestrale popolare europea. Fu attiva fino al 1942, quando le ostilità belliche imposero la cessazione delle sue attività.
Johann Baptist Gänsbacher Herzog Stecher Abbé Vogler Albrechtsberger Weber Meyerbeer Joseph Weigl Preindl Anton Mitterwurzer Wilt Milka Ternina Leopold Demuth Brahms Schubert Musikverein Stephansdom Music Central 1751 1778 1795 1801 1803 1806 1810 1812 1813 1814 1815 1818 1823 1824 1829 1838 1844 1853 1855 1868 1872 1875 1897 1904 1911
Alles Gute zum Geburtstag Johann Baptist Gänsbacher! Composer: Johann Baptist Gänsbacher +••.••(...)) Work: Lauretanische Litanei (1812) Performers: Sabina von WaIthеr (soprano); Johanna Pradеr (alto); Otto RastbichIеr (tenor); MichaеI GrossIеrcher (bass); TiroIеr vocalensemble & Kammerorchester des Fеrdinandеums; Josеf Wеtzingеr (leitung) Painting: Joseph Mathias von Trenkwald +••.••(...)) - Herzog Leopolds des Glorreichen Einzug in Wien nach dem Kreuzzug von 1219 (1872) Image in high resolution: (http•••) Painting: Franz Anton Stecher +••.••(...)) - Der Komponist Johann Baptist Gänsbacher und seine Familie (c.1838) Image in high resolution: (http•••) Further info: (http•••) Listen free: No available / Johann (Baptist Peter Joseph) Gänsbacher (Sterzing, [now Vipiteno], 8 May 1778 - Vienna, 13 July 1844) Austrian composer and conductor. He was the son of a choirmaster and teacher, Johann Gänsbacher +••.••(...)), and as a boy sang in church choirs in Sterzing, Innsbruck, Hall and Bolzano; he also had lessons in piano, organ, violin, cello and thoroughbass. In 1795 he went to the university at Innsbruck and studied first philosophy, then law, supporting himself by giving music lessons, playing the organ, singing in church choirs and playing in the theatre orchestra. His first compositions date from this period. While at university he took part in four campaigns against Napoleon. In 1801 he went to Vienna to continue his musical studies, and was relieved of financial worries when Count Firmian, who further promoted his career as a musician, took him into his family as a son in about 1803. In Vienna he had lessons from the Abbé Vogler +••.••(...)) and from Albrechtsberger (1806). A Mass in C, composed through the offices of Vogler for Nikolaus Esterhazy in 1806, established his reputation as a composer. Nevertheless, he returned to Vogler in Darmstadt for a short period in 1810, where his fellow-pupils and friends included Weber and Meyerbeer, who admitted him as a founder-member of the ‘Harmonische Verein’, for which he was active until 1813. In January 1813 he met Weber in Prague and recommended him for the post of Kapellmeister of the theatre. In the summer of the same year Gänsbacher returned to the Tyrol to join the fighting to liberate the province from the Bavarian occupation. After the end of the war he did not return to the Firmian family but joined the army as a first lieutenant (1814). He was stationed first in Italian garrisons, in Trient, Mantua and Padua then at Innsbruck in 1815, where he again tried to gain a foothold as a musician. He worked as a conductor and director of a church choir, and helped to found the Musikverein, though he did not gain the position of chief conductor. He did not accept the post of director of music in Dresden, offered him at the instigation of Weber in 1823, since (after representations against the election of Joseph Weigl), he was appointed Kapellmeister of the Stephansdom in Vienna as successor to Josef Preindl in September 1824. One of the choristers was his nephew Anton Mitterwurzer +••.••(...)), later famous as an opera singer. From this time on Gänsbacher composed mainly church music, and only a few homage cantatas. By the time of his death he was one of the most famous musicians in Vienna. Some of Gänsbacher's early instrumental compositions, such as the Clarinet Concertino and the sonatas in F major (1803) and G minor (1810), are remarkable for the individuality of their ideas and their unconventional structure, while his Italian canzonettas and terzetti are effective for their reticent simplicity. Yet the works he composed later for social performance clearly show a deterioration of quality. Even before his 20 years at the Stephansdom, sacred music was becoming central to his output. Starting with the masses in C and B and the Requiem (1812), he wrote some creditable and well-regarded works in this field. Although they do not stand out from the manner of their time, and show little stylistic innovation, they nonetheless show Gänsbacher's considerable skill as a composer. His son Josef Gänsbacher +••.••(...)) studied the piano, the cello and singing, and went to university to read law, graduating in 1855. He practised law for a number of years, but concurrently gave piano and singing lessons, and in 1868 devoted himself entirely to teaching singing. From 1875 to 1904 he was a tutor at the conservatory of the Gesellschaft der Musikfreunde, becoming by the turn of the century the most highly-regarded singing teacher in Vienna. Some of his pupils achieved international recognition, including Maria Wilt, Milka Ternina, Leopold Demuth and Julius Liban. Brahms dedicated his cello sonata op.38 to him. He was a composer, chiefly of songs but also of piano and choral pieces, and was a co-editor of the Schubert complete edition.
Seymour Barab Weber David Walter 1959 2020
Provided to YouTube by Sony Classical Serenade for Strings, Op. 46: V. March. Allegro con brio · Felix Galimir · Sonya Monosoff · Renée Hurtig · Seymour Barab · Ben Weber · David Walter Weber: Fantasia, Op. 25 & Concertino, Op. 45 & Serenade for Strings, Op. 46 ℗ 1959 Sony Music Entertainment Released on: 2020-04-24 Associated Performer: Galimir String Quartet Auto-generated by YouTube.
Paul Hindemith Weber Paul Sacher Yan Pascal Tortelier Tortelier Stevenson Basler Kammerorchester Bbc Philharmonic 1895 1923 1935 1938 1943 1951 1963
Paul Hindemith (16 November 1895 – 28 December 1963) was a prolific German composer, violist, violinist, teacher and conductor. In the 1920s, he became a major advocate of the Neue Sachlichkeit (new objectivity) style of music. Notable compositions include his song cycle Das Marienleben (1923), Der Schwanendreher for viola and orchestra (1935), and opera Mathis der Maler (1938). Hindemith's most popular work, both on record and in the concert hall, is likely the Symphonic Metamorphosis of Themes by Carl Maria von Weber, written in 1943. Please support my channel on (http•••) Symphonie „Die Harmonie der Welt“ (The Music of the Spheres) Dedication: Geschrieben für Paul Sacher und das Basler Kammerorchester zum fünfundzwanzigsten Geburtstag des Orchesters I. Musica Instrumentalis (0:00) II. Musica Humana (10:42) III. Musica Mundana (20:30) BBC Philharmonic conducted by Yan Pascal Tortelier Description by Joseph Stevenson This symphony is drawn from an opera about Johannes Kepler, the great astronomer who deduced the laws of orbital motion. Kepler was looking for the exact, perfect geometrical forms / circles, squares, equilateral triangles, and the like, that he believed must describe planetary motion. He called concept "The Harmony of the Universe, " (in German, Harmonie der Welt). Ironically, he discovered that there are no such relationships concerning spacing of the planets, and also that they move not in circular but in elliptical orbits, and not even at constant speeds. The symphony has three movements, "Machine Music, " "Human Music, " and "World Music." The three movements progressively seek to illuminate higher and higher spheres of musical/astrological imagery and musical purity. The music itself is high-minded and seeks to be free from human passions (except the passion for enlightenment), and seems at times to glow with an inner radiance.
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