Henry Edward Krehbiel Videos
US-amerikanischer Musikkritiker und Musikwissenschaftler
Gedenken 2024 (Geburt: Henry Edward Krehbiel)
- Vereinigte Staaten
- Linguist, Musikwissenschaftler, Übersetzer, Musikkritiker, Journalist, Schriftsteller
Letzte Aktualisierung
2024-05-21
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Niccolò Paganini Franz Liszt Busoni Campanella Percy Goetschius Rubin Rubin Goldmark Goldmark Henderson Josef Lhévinne 1838 1851 1904 1952 1986
Sascha Gorodnitzki (24 May 1904 – 4 April 1986) was an American pianist. Born in Kiev (then in the Russian Empire, now in Ukraine), Gorodnitzki emigrated as an infant to Brooklyn, NY, where his parents founded a college of music. He was a child prodigy; his teachers included his mother, then Percy Goetschius, Rubin Goldmark, William J. Henderson, Edwin Hughes, and Krehbiel at the Institute of Musical Art. At Juilliard Graduate School, he was taught by Josef Lhévinne. La campanella (Italian: the little bell) is the nickname given to the third of six Grandes études de Paganini ("Grand Paganini Études"), S. 141 (1851), composed by Franz Liszt. This piece is a revision of an earlier version from 1838, the Études d'exécution transcendente d'après Paganini, S. 140. Its melody comes from the final movement of Niccolò Paganini's Violin Concerto No. 2 in B minor, where the tune was reinforced by a little handbell.Кампанелла — обиходное название 3-го этюда (1851 г., Веймар, Германия) по Паганини Ференца Листа, является фортепьянной транскрипцией одноименной скрипичной пьесы. У Листа есть 6 этюдов, написанные на темы Паганини. 3-й его этюд написан на тему финала 2ого скрипичного концерта Паганини. Этот финал, который за свое звучание, напоминающее нежные звуки колокольчиков,(от итал. campanella - колокольчик) Паганини назвал «Кампанеллой». ラ・カンパネッラ (la Campanella) は、ニコロ・パガニーニのヴァイオリン協奏曲第2番ロ短調Op.7、第3楽章のロンド『ラ・カンパネッラ』を主題にフランツ・リストがピアノ用に編曲し作り上げた曲である。最終稿の『パガニーニによる大練習曲第3番』は、数多くあるリストの曲の中で最も有名。今も多くのピアニストに愛されている名曲である。Campanellaとはイタリア語で「鐘」を意味している。4度の改訂が行われているので、以下に作曲された順に紹介する。 La campanella è il nome dato comunemente all'opera Étude S.140 in sol diesis minore No.3 di Liszt (Grandes études de Paganini). È costruito sulla melodia del movimento finale del Concerto per violino e orchestra n. 2 (Paganini), di cui rielabora il motivo per il pianoforte.La Campanella (del italiano: campanilla) es un estudio para piano compuesto por el pianista y compositor Franz Liszt. Es el estudio n.º 3 de los Grandes Études de Paganini y está escrito en la tonalidad de Sol sostenido menor (G#m). La pieza está basada en un tema de la última parte del concierto para violín n.º 2 de Paganini en Si menor (Bm), un rondó en el que la armonía estaba reforzada por el sonido de una campanilla. La Campanella (ital.: Glöckchen, Handglocke) in gis-Moll ist die 3. Etüde der "Six Grandes Etudes de Paganini" für Klavier des Komponisten und Pianisten Franz Liszt. Das Stück basiert auf einem Thema aus dem letzten Satz des Violinkonzerts h-Moll des Geigers Niccolo Paganini, einem Rondo, in dem die Harmonien durch das Läuten einer Handglocke unterstützt werden.
Opéra Comique Henry Edward Krehbiel Drury Christina Nilsson Nilsson Zelia Trebelli Bettini Bettini Ruth Welting Marilyn Horne 1866 1870 1894 1919 1978
My personal opinion is that this recording is one of the finer Edison opera selections for orchestra. It has good variations in sound and volume and takes the best advantage of the acoustic (Horn) recording methods. Not a favorite on my earlier video of it, but given a chance I think some will find it quite good. The first performance was at the Opéra-Comique in Paris on 17 November 1866. The piece proved popular: more than 100 performances took place by the following July, the 1,000th was given there on 13 May 1894, and the 1,500th on 25 May 1919. The opera was also adapted and translated into German for performance in Berlin with Madame Lucca as Mignon. Lucca was well received, but the German critics were unhappy with the opera's alterations to the Goethe original, so Thomas composed a shorter finale with a tragic ending, in which Mignon falls dead in the arms of Wilhelm. This ending was an attempt to make the story of the opera somewhat more similar in tone to the tragic outcome of Goethe's. (The original version of Mignon for the Opéra-Comique had to have a happy ending, since at that time in Paris tragic operas in French were exclusively reserved for the Opéra.) Unsurprisingly, this "Version allemande" still failed to satisfy the German critics and proved to be a futile endeavor. As Henry Edward Krehbiel describes it, the "Mignon of Carré and Barbier bears little more than an external resemblance to the Mignon of Goethe, and to kill her is wanton cruelty." Despite his success in Paris with the French version, Thomas was asked to revise the work for the first performance at the Drury Lane Theatre in London on 5 July 1870. This version was given in Italian with recitatives (instead of spoken dialogue) and the role of Mignon, originally a mezzo-soprano role, was sung by a soprano (Christina Nilsson), and the role of Frédéric, originally a tenor, was sung by a contralto (Zelia Trebelli-Bettini). A second verse was added to Lothario's aria in the first act ("Fugitif et tremblant" in the French version), and in the second act, a rondo-gavotte for Frédéric ("Me voici dans son boudoir") was devised using the music of the entr'acte preceding that act, to satisfy Mme Trebelli-Bettini, who was discomfited by having to take on a role originally written for buffo tenor. Apparently the coloratura soprano Elisa Volpini, who was to sing Philine, felt that her aria at the end of the second act ("Je suis Titania") was insufficient, and another florid aria ("Alerte, alerte, Philine!") was inserted after the second act entr'acte and before Laerte's 6/8 Allegretto ("Rien ne vaut"). The finale was also much shortened. Philine's extra aria appears to have either never been orchestrated, or the orchestration was lost or destroyed. (Most sources say that the aria was performed and not cut from the Drury Lane production, implying that Thomas must have orchestrated it.) The aria is known from several piano-vocal scores and is included as an appendix, sung by Ruth Welting with flute and harpsichord accompaniment, as part of the 1978 recording with Marilyn Horne as Mignon. The recording also includes a second appendix with the original, longer version of the finale.
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