Anna Milder-Hauptmann Videos
österreichische Sopranistin
Gedenken 2025 (Geburt: Anna Milder-Hauptmann)
- Sopran
- Kaisertum Österreich
- Schauspieler, Opernsänger
Letzte Aktualisierung
2024-05-16
Aktualisieren
Franz Schubert Levine Shepherd Pauline Anna Milder Hauptmann Hauptmann Mollenhauer 1820 1825 1828 1830
Der Hirt auf dem Felsen (The Shepherd on the Rock), D. 965, is a Lied for soprano, clarinet, and piano by Franz Schubert. It was composed in 1828 during the final months of his life. The Lied was written as a belated response to a request from the operatic soprano Pauline Anna Milder-Hauptmann, a friend of Schubert. She had requested a showpiece that would allow her to express a wide range of feelings. It was published a year and a half after Schubert's death. Milder sang it for the first time at the House of the Blackheads in Riga on 10 February 1830. This piece was performed by Montserrat Alavedra (Soprano). William McColl performs on a Bb clarinet made by Mollenhauer in Fulda, Germany about 1820 - 1825. Joseph Levine performs on a fortepiano that was a copy of a Mozart-era instrument. Thank you for watching. Please subscribe to get the best of classical music (http•••) Already subscribed? Please click on the notification bell to be notified of the latest videos. Courtesy (Free Music Archive) (http•••)
Ebner Pauline Anna Milder Hauptmann Hauptmann 1769 1830
Leopold Ignacije Ebner (1769–1830) was a croatian composer. Sections: Allegro molto Menuetto Rondo Performer: Glazbena Škola Varaždin. Painting: Pauline Anna Milder-Hauptmann - Friedrich Wilhelm von Schadow.
Beethoven Woo Malfatti Elisabeth Röckel Unger Brunswick Schachner Joseph August Röckel August Röckel Bamberg Anna Mozart Hoffmann Johann Nepomuk Hummel Anna Milder Hauptmann Hauptmann Antonio Salieri Theater Wien 1792 1793 1806 1808 1810 1811 1813 1816 1830 1851 1865 1883 1984 2010 2014 2015
Bagatelle No. 25 in A minor (WoO 59, Bia 515) for solo piano, commonly known as "Für Elise" (English: "For Elise"), is one of Ludwig van Beethoven's most popular compositions. It was not published during his lifetime, only being discovered (by Ludwig Nohl) 40 years after his death, and may be termed either a Bagatelle or an Albumblatt. The identity of "Elise" is unknown; researchers have suggested Therese Malfatti, Elisabeth Röckel, or Elise Barensfeld. The version of "Für Elise" heard today is an earlier version that was transcribed by Ludwig Nohl. There is a later version, with drastic changes to the accompaniment which was transcribed from a later manuscript by the Beethoven scholar Barry Cooper. The most notable difference is in the first theme, the left-hand arpeggios are delayed by a 16th note. There are a few extra bars in the transitional section into the B section; and finally, the rising A minor arpeggio figure is moved later into the piece. The tempo marking Poco moto is believed to have been on the manuscript that Ludwig Nohl transcribed (now lost). The later version includes the marking Molto grazioso. It is believed that Beethoven intended to add the piece to a cycle of bagatelles. Whatever the validity of Nohl's edition, an editorial peculiarity contained in it involves the second right-hand note in bar 7, that is, the first note of the three-note upbeat figure that characterizes the main melody. Is it E4 or D4? Nohl's score gives E4 in bar7 but D4 thereafter in all parallel passages. Many editions change all of the figures to beginning with E4 until the final bars, where D4 is used and resolved by adding a C to the final A octave. The pianist and musicologist Luca Chiantore argued in his thesis and his 2010 book Beethoven al piano (new Italian edition: Beethoven al pianoforte, 2014) that Beethoven might not have been the person who gave the piece the form that we know today. Chiantore suggested that the original signed manuscript, upon which Ludwig Nohl claimed to base his transcription, may never have existed. On the other hand, Barry Cooper wrote, in a 1984 essay in The Musical Times, that one of two surviving sketches closely resembles the published version. It is not certain who "Elise" was. Max Unger suggested that Ludwig Nohl may have transcribed the title incorrectly and the original work may have been named "Für Therese", a reference to Therese Malfatti von Rohrenbach zu Dezza (1792–1851). She was a friend and student of Beethoven's to whom he supposedly proposed in 1810, though she turned him down to marry the Austrian nobleman and state official Wilhelm von Droßdik in 1816. Note that the piano sonata no. 24, dedicated to Countess Thérèse von Brunswick, is also referred to sometimes as "für Therese". The Austrian musicologist Michael Lorenz has shown that Rudolf Schachner, who in 1851 inherited Therese von Droßdik's musical scores, was the son of Babette Bredl, born out of wedlock. Babette in 1865 let Nohl copy the autograph in her possession. According to a 2010 study by Klaus Martin Kopitz, there is evidence that the piece was written for the 17-year-old German soprano singer Elisabeth Röckel (1793–1883), the younger sister of Joseph August Röckel, who played Florestan in the 1806 revival of Beethoven's opera Fidelio. "Elise", as she was called by a parish priest, had been a friend of Beethoven's since 1808, who, according to Kopitz, perhaps wanted to marry her. But in April 1810 Elisabeth Röckel got an engagement at the theater in Bamberg where she made her stage debut as Donna Anna in Mozart's Don Giovanni and became a friend of the writer E. T. A. Hoffmann. In 1811 Röckel came back to Vienna, in 1813 she married there Beethoven's friend Johann Nepomuk Hummel. In 2015 Kopitz published further sources about Beethoven's relationship to Röckel and the famous piano piece. It shows that she was also a close friend of Anna Milder-Hauptmann and lived together with her and her brother Joseph August in the Theater an der Wien. In a letter to Röckel, which she wrote in 1830, she called her indeed "Elise". In 2014, the Canadian musicologist Rita Steblin suggested that Elise Barensfeld might be the dedicatee. Born in Regensburg and treated for a while as a child prodigy, she first travelled on concert tours with Beethoven's friend Johann Nepomuk Mälzel, also from Regensburg, and then lived with him for some time in Vienna, where she received singing lessons from Antonio Salieri. Steblin argues that Beethoven dedicated this work to the 13-year-old Elise Barensfeld as a favour to Therese Malfatti who lived opposite Mälzel's and Barensfeld's residence and who might have given her piano lessons. Steblin admits that question marks remain for her hypothesis.
Franz Peter Schubert Elly Ameling Shepherd Salter Augér Isobel Baillie Kathleen Battle Erna Berger Barbara Bonney Gabriele Fontana Fontana Ria Ginster Edita Gruberová Barbara Hendricks Gundula Janowitz Christa Ludwig Edith Mathis Akiko Nakajima Nakajima Margaret Price Ritchie Lotte Schöne Elisabeth Schumann Schumann Rita Streich Benita Valente Valente Anna Milder Hauptmann Hauptmann Heller Gram Himmel Frühling Mach Musikverein 1828
Franz Peter Schubert Der Hirt auf dem Felsen, D 965 (Part II) Text after Wilhelm Müller's poem "The mountain shepherd" Translation: Lionel Salter This lied is one of my all time favorites of Schubert. I think, if I was a performing soprano singer, I would sing this one in every recital, until people started telling me "we are sick to death of that tune!" I just love Schubert's lieder and this is one of them that made me fall in love with his genius. (from: wikipedia - in part) Der Hirt auf dem Felsen (English: The Shepherd on the Rock), D. 965 is a famous lied for soprano, clarinet, and piano by Franz Schubert. It was composed in 1828 during the final months of his life. Of the six verses, the first four came from the poetry of Wilhelm Müller, while the last two were written by Wilhelmina Christiane von Chézy. ... The lied is multi-sectional with the clarinet and voice (soprano) equally challenged, it fits as a work of chamber music as it does as lied. The first section is warm as the lonely shepherd, high on the mountain top, listens to the echoes rising from below. The second section becomes quite dark as the shepherd expresses his all encompassing grief and loneliness. The third and last section is a sign of hope as the shepherd anticipates the coming of Spring and with it rebirth. Singers who have made recordings of this work are: Arleen Augér, Elly Ameling, Isobel Baillie, Kathleen Battle, Erna Berger, Barbara Bonney, Helena Dearing , Gabriele Fontana, Ria Ginster, Edita Gruberová, Barbara Hendricks, Gundula Janowitz, Christa Ludwig, Ann Mackay, Edith Mathis, Akiko Nakajima, Dame Margaret Price, Elizabeth Ritchie, Lynda Russell, Lotte Schöne, Elisabeth Schumann, Rita Streich and Benita Valente. (from: (http•••) ) It is believed that Franz Schubert's Shepherd on the Rock, D965 (Der Hirt auf dem Felsen) was the last song he composed. Ralf Wehner writes, "that for all his mastery of the lied, Schubert had great difficulty finding public recognition in his lifetime. Among the few highlights of his career was a concert at the Vienna Musikverein in March 1828. Several Lieder and chamber works were performed which were all received with tumultuous applause. Seeing this as a favorable sign, Schubert threw himself into his work once again, writing keyboard sonatas, a string quartet and the E-flat major Mass. He wrote several lieder including the Shepherd on the Rock. This song stands apart from most of Schubert's other lieder for solo voice not only because it is scored for a second instrument but also because of its multi-sectional, cantata-like character. Originally scored for clarinet, piano and solo voice, Shepherd on the Rock, is believed to have been written for the operatic soprano Anna Milder-Hauptmann, who had asked Schubert to compose a brilliant concert aria for her, specifying a piece which would allow her to express a wide range of feelings and would be suitable for a 'large audience.' As a result, the work is more like an operatic aria than Schubert's other lieder. The vocal line, solo instrument and piano are closely interwoven, thus creating an organic texture which does equal justice to the piece's claims to be treated both as a chamber work and as a concertante aria." German Text: Wenn auf dem höchsten Fels ich steh, ins tiefe Thal herneider seh, und singe, und singe, fern aus dem tiefen, dunkeln Thal schwingt sich empor der Wiederhall, der Wiederhall der Klüfte. Je weiter meine Stimme dringt, Je heller sie mir wiederklingt, von unten, von unten. Mein Liebchen wohnt so weit von mir, drum sehn ich mich so heiß nach ihr hinüber, hinüber. In tiefem Gram verzehr' ich mich, mir ist die Freude hin, auf Erden mir die Hoffnung wich, ich hier so einsam bin, ich hier so einsam bin. So sehnend klang im Wald das Lied, so sehnend klang es durch die Nacht, die Herzen es zum Himmel zieht mit wunderbarer Macht. Der Frühling will kommen, der Frühling meine Freud, nun mach ich mich fertig zum Wandern bereit. Translation: When on the highest cliff I stand, gaze down into the deep valley and sing, the echo from the ravines floats upwards from the dark valley far away. The further my voice travels, the clearer it returns to me from below. So far from me does my love dwell that I yearn for her more ardently over there. With deep grief I am consumed, my joy is at an end; all hope on earth has left me; I am so lonely here, I am so lonely here. So longingly sounded the song in the wood, so longingly it sounded through the night, drawing hearts heavenwards with wondrous power. Spring is coming, Spring, my joy; now I will make ready to go journeying.
oder
- Zeitleiste: Lyrische Sänger (Europa).
- Indizes (in alphabetischer Reihenfolge): M...