François-Antoine Habeneck Videos
französischer Violinist
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2024-05-02
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Henri Brod Gustave Vogt Vogt Fétis Boehm Quinault Habeneck Schweitzer 1781 1789 1799 1801 1812 1818 1825 1826 1828 1837 1839
Henri Brod (Paris, 13 June 1799 - Paris, 6 April 1839) French oboist, wind instrument maker and composer. He studied at the Paris Conservatoire from 1812 under Gustave Vogt, who shared Brod’s Protestant Alsatian background. Having received the premier prix in 1818, the following year Brod was appointed second oboist in the Opéra orchestra alongside his teacher. During Vogt’s absences in 1826 and 1828 Brod filled Vogt’s place as first oboist. The abilities of the two players were often compared; Fétis found Brod’s tone sweeter than that of his teacher. A statuette by Dantan jeune (Paris, Musée Carnavalet) caricatures Brod playing a musette. He died just 3 months before he would have been eligible for a pension to support his wife and young son. His widow petitioned repeatedly for support from the administration of both the Conservatoire and Opéra. Oboes by Brod, some made in collaboration with his brother Jean-Godefroy (b ?1801) were held in high regard. Brod had acquired tools and plans from Christophe Delusse (fl.1781-1789), and his earliest oboes were modelled on those of Delusse. Brod quickly gained a reputation for innovation and did much to influence the oboe’s development. He was probably the first oboe maker in France to add octave keys, to extend the range to b (and on some instruments to a) and to design a pierced plate to half close the first hole. Brod promoted a straight english horn (cor anglais moderne), conceived an hautbois baritone, pitched an octave below the treble oboe, and made a petit hautbois, pitched above the treble oboe. It was reported that he was developing an oboe with Boehm keywork. Other inventions include a gouging machine used in oboe and bassoon reed making. His two-part Méthode pour le hautbois (Paris, 1825–35), includes important technical information and explains the rationale for these innovations. In addition to pièces de salon, romances and operatic fantasies for oboe, including Variations on Lucia di Lammermoor and Siège de Corinthe, Brod composed an opera on Quinault’s libretto Thesée which was rejected by the audition panel of the Opéra in 1826. The only known performance of excerpts of this score (now lost) took place in 1837 under the direction of F.-A. Habeneck. A definitive list of Brod’s compositions has yet to be established. Albert Schweitzer Quintet. Camille Corot - Flesselles, a Street with a Peasant and Her Cow.
Henri Brod Gustave Vogt Vogt Fétis Boehm Quinault Habeneck Schweitzer 1781 1789 1799 1801 1812 1818 1825 1826 1828 1837 1839
Henri Brod (Paris, 13 June 1799 - Paris, 6 April 1839) French oboist, wind instrument maker and composer. He studied at the Paris Conservatoire from 1812 under Gustave Vogt, who shared Brod’s Protestant Alsatian background. Having received the premier prix in 1818, the following year Brod was appointed second oboist in the Opéra orchestra alongside his teacher. During Vogt’s absences in 1826 and 1828 Brod filled Vogt’s place as first oboist. The abilities of the two players were often compared; Fétis found Brod’s tone sweeter than that of his teacher. A statuette by Dantan jeune (Paris, Musée Carnavalet) caricatures Brod playing a musette. He died just 3 months before he would have been eligible for a pension to support his wife and young son. His widow petitioned repeatedly for support from the administration of both the Conservatoire and Opéra. Oboes by Brod, some made in collaboration with his brother Jean-Godefroy (b ?1801) were held in high regard. Brod had acquired tools and plans from Christophe Delusse (fl.1781-1789), and his earliest oboes were modelled on those of Delusse. Brod quickly gained a reputation for innovation and did much to influence the oboe’s development. He was probably the first oboe maker in France to add octave keys, to extend the range to b (and on some instruments to a) and to design a pierced plate to half close the first hole. Brod promoted a straight english horn (cor anglais moderne), conceived an hautbois baritone, pitched an octave below the treble oboe, and made a petit hautbois, pitched above the treble oboe. It was reported that he was developing an oboe with Boehm keywork. Other inventions include a gouging machine used in oboe and bassoon reed making. His two-part Méthode pour le hautbois (Paris, 1825–35), includes important technical information and explains the rationale for these innovations. In addition to pièces de salon, romances and operatic fantasies for oboe, including Variations on Lucia di Lammermoor and Siège de Corinthe, Brod composed an opera on Quinault’s libretto Thesée which was rejected by the audition panel of the Opéra in 1826. The only known performance of excerpts of this score (now lost) took place in 1837 under the direction of F.-A. Habeneck. A definitive list of Brod’s compositions has yet to be established. Adagio - Allegro vivace Andante Minuetto. Allegro Presto Albert Schweitzer Quintet. Camille Corot - Flesselles, a Street with a Peasant and Her Cow.
Frédéric Chopin Gurevich François Antoine Habeneck Salle Conservatoire Société Concerts Conservatoire 1830 1831 1834 1835 1836
♫ BGM│Chopin 蕭邦 - Andante spianato et Grande Polonaise brillante, Op. 22 ♪♪ 平靜的行板與華麗的大波蘭舞曲, 作品22 ♪♪ / Pianiste : Olga Gurevich Public Domain Mark 1.0 / La Grande Polonaise brillante pour piano, en mi bémol majeur, op. 22, précédée d’un Andante spianato en sol majeur a été composée par Frédéric Chopin entre 1830 et 1836. Elle a été publiée en 1836 et est dédiée à l’une de ses élèves, la baronne Sarah Frances d'Este. La Grande Polonaise brillante a été jouée pour la première fois par Chopin lui-même le 26 avril 1835 à Paris, dans la salle du conservatoire, lors d’un concert de François-Antoine Habeneck, soirée de clôture de la Société des concerts du Conservatoire. Fortement inspiré par l'esprit de l'opéra italien, cette composition s'éloigne de la traditionnelle polonaise. Elle revêt les accents héroïques, voire révolutionnaires, d'un peuple en lutte, celui de Chopin, à l'heure où l'insurrection polonaise vient d'éclater. Les deux mouvements se font le témoins de la double personnalité du compositeur, tour à tour rêveuse et passionnée. / Andante spianato et grande polonaise brillante in E-flat major, Op. 22, was composed by Frédéric Chopin between 1830 and 1834. The Grande polonaise brillante in E-flat, set for piano and orchestra, was written first, in 1830-31. In 1834, Chopin wrote an Andante spianato in G, for piano solo, which he added to the start of the piece, and joined the two parts with a fanfare-like sequence. The combined work was published in 1836, and was dedicated to Madame d'Este. The Grande polonaise brillante is a work for piano and orchestra, although the piano part is often played on its own. The Andante spianato (spianato means "even" or "smooth") for solo piano was composed as an introduction to the polonaise after Chopin received a long-awaited invitation to perform in one of Habeneck’s Conservatoire Concerts in Paris. This was the only time Chopin had ever used the term spianato as a description for any of his works. Chopin’s first work, written at age seven, had been a polonaise. Chopin used the same Polonaise theme in his earlier work the Introduction and Polonaise brillante in C major, Op. 3. The Grande polonaise brillante of 1830–31 was to be the last such he would compose for several years. It preoccupied Chopin in his final months at Warsaw. It was finished at Vienna in 1831. / 蕭邦於 1830 年至 1836 年間創作的作品22"平靜的行板與華麗的大波蘭舞曲",也是蕭邦的最後一部作品,是一首鋼琴與管弦樂曲。 1830 ~1831年,蕭邦在華沙最後幾個月裡,寫下降E大調La Grande Polonaise Brillante "華麗的大波蘭舞曲",並於 1831 年在維也納完成。1834 年,蕭邦再了寫了一首 G 大調Andante spianato的鋼琴獨奏,這是蕭邦唯一一次使用“spianato”一詞來描述他的作品,他將Andante spianato添加到大波蘭舞曲的開頭,合併後於 1836 年出版,獻給他的一位學生莎拉·弗朗西斯·德斯特男爵夫人。 1835 年 4 月 26 日蕭邦親自在巴黎音樂學院大廳、François-Antoine Habeneck 的音樂會上首次演奏,為巴黎音樂學院晚會的閉幕曲目。受到義大利歌劇精神的強烈啟發,這首作品脫離了傳統波蘭舞曲的風格。 / Frédéric Chopin 蕭邦 : (http•••) Relaxante/Relaxing/放鬆紓壓 : (http•••) Etude/Study/讀書專用 : (http•••) Piano/鋼琴 : (http•••) Classique/Classical/古典 : (http•••) / Abonnez-vous ici:(http•••) Please subscribe:(http•••) 歡迎訂閱:(http•••) / #Chopin, #蕭邦, #Piano, #鋼琴
Edouard Lalo Berlioz François Antoine Habeneck 1848
Violin Concerto in F, Op. 20 Author of the popular Symphonie espagnole for violin and orchestra, a work which captivates the listener with its melodic charm and great passion, Lalo was a major composer of orchestral and chamber music at a time when French musicians were dominated by an impulse to compose for the theater. His lesser known, but by no means little accomplished, works include the powerfully emotional Cello Concerto in D minor, a work which aptly makes use of the instrument's expressive potential, the ballet Namouna, and this work. It calls for solo violin, piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons + 2 horns, 2 trumpets, 3 trombones + timpani, percussion & strings. Edouard Lalo was a French composer. Lalo was born in Lille (Nord), in northernmost France. He attended that city's music conservatory in his youth. Then, beginning at age 16, Lalo studied at the Paris Conservatoire under Berlioz's old enemy François Antoine Habeneck. For several years, he worked as a string player and teacher in Paris. In 1848, he joined with friends to found the Armingaud Quartet, playing viola and later second violin. Lalo's earliest surviving compositions are songs and chamber works (two early symphonies were destroyed).
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