Karl Klindworth Videos
deutscher Komponist, Dirigent, Musikpädagoge und Klaviervirtuose
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Beethoven Louis Persinger Klindworth Scharwenka Hermann Scherchen Josef Stránský Richard Wagner Paul Scheinpflug Eugene Ormandy Pietro Mascagni Oskar Fried Blüthner Orchester Konzerthausorchester Berlin 1770 1827 1853 1907 1909 1910 1913 1915 1917 1919 1924 1925 1928 2021
Ludwig van Beethoven +••.••(...)) EGMONT Ouvertüre zu dem gleichnamigen Schauspiel von Johann Wolfgang von Goethe. Es spielt das Blüthner-Orchester, Berlin unter der Leitung von Bruno Weyersberg. Schallplatte (30 cm) der Marke "CONTENENTAL" (Offensichtlich eine Aufnahme von Kalliope, Leipzig, um 1913) Schrankgrammophon der Marke "GRANDIOSA" (Kötzschenbroda bei Dresden) (um 1928) Musikkabinett Augustusburg (C) JE 02/2021 Das Blüthner-Orchester war ein 1907 in Berlin gegründetes Sinfonieorchester, das ab 1925 als Berliner Symphonie-Orchester (vgl. Konzerthausorchester Berlin) weitergeführt wurde. Es wurde nach seinem Sponsor benannt, der „Julius Blüthner Pianofortefabrik GmbH“, die 1853 vom Klavierbauer Julius Blüthner in Leipzig gegründet worden war. Sie gehört heute neben Steinway & Sons, Bösendorfer und Carl Bechstein zu den führenden Pianoherstellern weltweit. Das mit erheblichen Geldmitteln unterstützte Orchester suchte talentierte Musiker, sein erster Konzertmeister war Louis Persinger. Sein Domizil war der „Blüthner-Saal“, einem großen, zum Klindworth-Scharwenka-Konservatorium gehörenden Konzertsaal in der Genthiner Straße 11 (Berlin-Tiergarten). Im Gründungsjahr 1907 begann der Bratschist Hermann Scherchen beim Orchester seine Laufbahn. Von 1909 bis 1910 übernahm der Dirigent Josef Stránský die Leitung des Orchesters. Unter ihm wurde am 15. Dezember 1910 Edgard Varèses erste symphonische Dichtung „Bourgogne“ uraufgeführt. 1913 spielte das Orchester für die deutsche Plattenfirma Anker Record erstmals den ersten Akt aus Die Walküre von Richard Wagner unter Leitung von Edmund von Strauß ein. Das Blüthner-Orchester trat außerhalb Berlins auch deutschlandweit auf. Das von der Kritik sehr gelobte Blüthner-Orchester unter der Leitung von Paul Scheinpflug war in Berlin populär, insbesondere seine Sonntags-Sinfoniekonzerte mit dem gängigen und populären klassischen und romantischen Repertoire im Blüthner-Saal. 1915 kam Violinist Adalbert Luczkowski vom Schwarwenka-Konservatorium zum Orchester, 1917 gab es unter Eugene Ormandy eine Tournee durch Ungarn. Die Beteiligung des Blüthner-Orchesters im Januar 1919 an einem von der Berliner SPD organisierten Neujahrskonzert, also einem „proletarischen Konzert“, war wohl weniger auf die Favorisierung einer bestimmten politischen Linie durch das Orchester als vielmehr auf sein Bestreben um Popularität zurückzuführen. Es kam zu einem Skandal um das Orchester, als es nach der Ermordung von Karl Liebknecht und Rosa Luxemburg am 15. Januar 1919 auf deren Totenfeier spielte. Nur eine Entschuldigung des Dirigenten Paul Scheinpflug konnte das Orchester wieder rehabilitieren.[4] Eines der letzten berühmten Konzerte unter dem Namen „Blüthner-Orchester“ fand am 16. Oktober 1924 im Sportpalast Berlin unter Pietro Mascagni statt. Im Mai 1925 wurden seine Musiker vom Berliner Symphonie-Orchester unter der Leitung von Oskar Fried übernommen. Das Blüthner-Orchester hatte aufgehört zu existieren. (Quelle: Wikipedia)
Sergei Mikhailovich Lyapunov Anthony Goldstone Nikolai Rubinstein Rubinstein Karl Klindworth François Liszt Sergei Taneyev Pyotr Ilyich Tchaikovsky Mily Balakirev Hans Winderstein Ricardo Viñes Zimmermann Anatoly Lyadov Nikolai Rimsky Korsakov Louis Kentner 1859 1878 1883 1885 1893 1897 1904 1907 1910 1911 1923 1924 1927 1949
LIKE and SUBSCRIBE for more score videos ! (http•••) SUBSCRIBE to my PATREON ! → (http•••) Sergei Lyapunov - Mazurka 8 in G minor, Op. 36 (Anthony Goldstone) [Audio + Score] BIOGRAPHY Sergei Mikhailovich Lyapunov (30 November 1859 – 8 November 1924) was a Russian composer, pianist and conductor. Lyapunov was born in Yaroslavl in 1859. After the death of his father, Mikhail Lyapunov, when he was about eight, Sergei, his mother, and his two brothers (one of them was Aleksandr Lyapunov, later a notable mathematician) went to live in the larger town of Nizhny Novgorod. There he attended the grammar school along with classes of the newly formed local branch of the Russian Musical Society. On the recommendation of Nikolai Rubinstein, the Director of the Moscow Conservatory of Music, he enrolled in that institution in 1878. His main teachers were Karl Klindworth (piano; a former pupil of Franz Liszt), and Sergei Taneyev (composition; a former pupil of Pyotr Ilyich Tchaikovsky and his successor at the Conservatory). He graduated in 1883, more attracted by the nationalist elements in music of the New Russian School than by the more cosmopolitan approach of Tchaikovsky and Taneyev. He went to St. Petersburg in 1885 to seek Mily Balakirev, becoming the most important member of Balakirev's latter-day circle. Balakirev, who had himself been born and bred in Nizhny Novgorod, took Lyapunov under his wing, and oversaw his early compositions as closely as he had done with the members of his circle during the 1860s, now known as The Five. Balakirev's influence remained the dominant influence in his creative life. Conductor Hans Winderstein (far left), Sergei Lyapunov, pianist Ricardo Viñes (standing) and publisher Julius Heinrich Zimmermann (far right) in Leipzig in 1907. In 1893, the Imperial Geographical Society commissioned Lyapunov, along with Balakirev and Anatoly Lyadov, to gather folksongs from the regions of Vologda, Vyatka (now Kirov) and Kostroma. They collected nearly 300 songs, which the society published in 1897. Lyapunov arranged 30 of these songs for voice and piano and used authentic folk songs in several of his compositions during the 1890s. Lyapunov recording for the Welte-Mignon reproducing piano in St. Petersburg or Moscow in January 1910. From 1904, Lyapunov made appearances as a conductor, mounting the podium by invitation in Berlin and Leipzig in 1907. He also enjoyed a successful career as a pianist. In the spring of 1910, Lyapunov recorded some of his own works for the reproducing piano Welte-Mignon (Op. 11, Nos. 1, 5, and 12; Op. 35). Lyapunov made several tours of Western Europe, including one of Germany and Austria in 1910–1911. He succeeded Nikolai Rimsky-Korsakov as assistant director of music at the Imperial Chapel, became a director of the Free Music School, then its head, as well as a professor at the St. Petersburg Conservatory in 1911. After the Revolution, he emigrated to Paris in 1923 and directed a school of music for Russian émigrés, but died of a heart attack the following year. For many years the official Soviet line was that Lyapunov had died during a concert tour of Paris, no acknowledgement being made of his voluntary exile. Lyapunov is largely remembered for his Douze études d'exécution transcendente. This set completed the cycle of the 24 major and minor keys that Franz Liszt had started with his own Transcendental Études but had left unfinished. Not only was Lyapunov's set of études as a whole dedicated to the memory of Franz Liszt, but the final étude was specifically titled Élégie en mémoire de François Liszt. In the UK the pianist Edward Mitchell was an early advocate, first performing and broadcasting the Douze études in 1927. Louis Kentner made the premiere recording in 1949.
Sergei Bortkiewicz Anatoly Lyadov Salomon Jadassohn Franz Liszt Schumann Klindworth Scharwenka Chopin Tchaikovsky Rachmaninoff Scriabin Blüthner Orchestra 1877 1888 1900 1902 1904 1913 1914 1923 1932 1952 1967
First published in 1932. Bortkiewicz +••.••(...)) was a Ukrainian Romantic composer and pianist of Polish ancestry. Bortkiewicz received his musical training from Anatoly Lyadov and Karl von Arek at the Imperial Conservatory of Music in Saint Petersburg. In 1900 he left Saint Petersburg and traveled to Leipzig, where he became a student of Alfred Reisenauer and Salomon Jadassohn, both pupils of Franz Liszt. In July 1902, Bortkiewicz completed his studies at the Leipzig Conservatory and was awarded the Schumann Prize on graduation. On his return to the Russian Empire in 1904, he married Elisabeth Geraklitowa, a friend of his sister, and then returned to Germany, where he settled in Berlin. It was there that he started to compose seriously. From 1904 until 1914, Bortkiewicz continued to live in Berlin but spent his summers visiting his family in Ukraine or travelling around Europe often on concert tours. For a year he also taught at the Klindworth-Scharwenka Conservatory, where he was to meet his lifelong friend, the Dutch pianist Hugo van Dalen (1888–1967). Van Dalen premiered Bortkiewicz's Piano Concerto No. 1, Op. 16, in November 1913 in Berlin with the Blüthner Orchestra conducted by the composer. Bortkiewicz's piano style was very much based on Liszt and Chopin, nurtured by Tchaikovsky, Rachmaninoff, early Scriabin, Wagner and Ukrainian folklore. The composer never saw himself as a "modernist", as can be seen from his Künstlerisches Glaubensbekenntnis, written in 1923. His workmanship is meticulous, his imagination colourful and sensitive, his piano writing idiomatic; a lush instrumentation underlines the essential sentimentality of the melodic invention. / - A method to find scores: (http•••) - My donation link to keep the channel growing: (http•••) Thanks for listening :-)
Tchaikovsky Modest Tchaikovsky Davydov Nikolay Rubinstein Rubinstein Karl Klindworth Max Erdmannsdörfer Vera Davydova Davydova Bolshoi Theatre 1843 1867 1868 1874 1884 1892 1920 1945
Tchaikovsky: Souvenir de Hapsal, Op. 2 (1867) III. Chant sans paroles. Allegretto grazioso e cantabile (F major) Souvenir de Hapsal, Op. 2 (TH 125 ; ČW 100 to 102), was Tchaikovsky's first cycle of pieces for solo piano, written in the summer of 1867 while he was staying at the Estonian resort of Hapsal (now Haapsalu). Movements and Duration: A complete performance of all three pieces lasts around 10 to 15 minutes. Composition: The pieces were written during a break from Tchaikovsky's work on the opera The Voyevoda, in June and July 1867, while the composer was staying at Hapsal together with Modest Tchaikovsky and Anatoly Tchaikovsky, and some members of the Davydov family. Performances: Scherzo (No. 2) was performed for the first time by Nikolay Rubinstein at a special symphony concert of the Russian Musical Society in Moscow, on 27 February/10 March 1868. Chant sans paroles (No. 3) was first performed in Moscow by Karl Klindworth at the 1st Quartet Soirée of the Russian Musical Society on 2/14 October 1868, and in Saint Petersburg by Anna Yesipova at a concert in the Bolshoi Theatre on 28 February/12 March 1874. It was also conducted by Tchaikovsky at a concert in the Imperial School of Jurisprudence in the same city on 3/15 March 1892, in an orchestral arrangement by Max Erdmannsdörfer. It is not known when Ruines d'un château (No. 1) was first performed. Publication: The cycle was published for the first time by Pyotr Jurgenson in 1868. Many years later, in 1884, when Jurgenson was undertaking to publish a selection of his works for piano, Tchaikovsky included the complete cycle in his list of pieces worthy of being reprinted. Souvenir de Hapsal appears in volume 51А of Tchaikovsky's Complete Collected Works (1945), edited by Ivan Shishov. Autographs: The whereabouts of Tchaikovsky's manuscripts for all three pieces are unknow. Dedications: Souvenir de Hapsal is dedicated to Vera Davydova, later Butakova (1843–1920), younger sister of Lev Davydov (husband of Tchaikovsky's sister Aleksandra, who was staying at Hapsal when Tchaikovsky wrote the piano pieces. Related Works: Scherzo (No. 2) was a reworking by Tchaikovsky of the central section of his Allegro in F minor for piano, which had been composed during his studies at the Saint Petersburg Conservatory in the early 1860s.
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