Otakar Hřímalý Videos
tschechischer Komponist und Musikpädagoge
Gedenken 2025 (Tod: Otakar Hřímalý)
- klassische Musik, Oper
- Tschechoslowakei, Österreich-Ungarn
- Dirigent, Komponist, Pädagoge, Pianist, Chorleiter, Lehrer
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2024-04-30
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Tchaikovsky Modest Tchaikovsky Nikolay Rubinstein Rubinstein Jan Hřímalý Adolph Brodsky Gerber Wilhelm Fitzenhagen Leopold Auer Karl Davydov Anatoly Aleksandrov Ferdinand Laub Metropolitan Opera 1875 1876 1877 1891 1955
Tchaikovsky: String Quartet No. 3 in E-flat minor, Op. 30 (1876) III. Andante funebre e doloroso, ma con moto (E♭ minor, 4/4) Tchaikovsky's String Quartet No. 3 in E-flat minor, Op. 30 (TH 113 ; ČW 92) was composed and scored in January and February 1876 in Paris and Moscow. Instrumentation: Scored for 2 violins, viola and cello. Duration: A complete performance lasts around 35 to 40 minutes. Composition: Tchaikovsky began to work on the quartet between 3/15 and 10/22 January 1876 in Paris. On 26 January he returned to Moscow, from where on 10/22 February he wrote to Anatoly Tchaikovsky and Modest Tchaikovsky about his work on the quartet: "All my time... is dedicated to composing the quartet, which is already written but not yet scored". "I'm now working full steam ahead to finish the quartet which, you may remember, I began in Paris". The quartet was finished on 18 February/1 March 1876, according to the date on the manuscript score. Tchaikovsky's notes on the autograph indicate that originally the 'Andante funebre e doloroso' was meant to be the second movement, and the 'Allegretto vivo e scherzando' the third. It also appears that the composer made cuts in the first movement (12 bars after bar 210, 4 bars after bar 222, 12 bars after bar 511 and 4 bars after bar 521) around the time of the first performances in 1876. Arrangements: The third movement was also arranged for violin with piano by Tchaikovsky in 1876, as Andante funebre. Performances: The quartet was performed for the first time during a soirée at Nikolay Rubinstein's apartment on 2/14 March 1876. A further private performance took place at the Moscow Conservatory on 16/28 March 1876, with Jan Hřímalý and Adolph Brodsky (violins), Yury Gerber (viola), and Wilhelm Fitzenhagen (cello). The same performers gave the work its public premiere on 18/30 March 1876, at a concert in Moscow organised by Jan Hřímalý, and this was repeated at the second quartet concert of the Russian Musical Society in Moscow on 22 March/3 April 1876. In Saint Petersburg the quartet was first heard on 19/31 October 1876, with Leopold Auer and Ivan Pikkel (violins), Ieronim Veykman (viola) and Karl Davydov (cello). The Kiev premiere took place on 23 March/4 April 1891 at the 1st RMS quartet concert, with Otokar Shevchuk and Shutman (violins), Yevgeny Ryb (viola), and Friedrich von Mullert (cello). Other notable performances include: London, Royal Normal College & Academy of Music for the Blind, 14/26 July 1877. New York, Metropolitan Opera chamber concert, 8/20 May 1891. Publication: In October 1876, Tchaikovsky worked at correcting the proofs of the quartet for the publisher Pyotr Jurgenson, and the full score appeared in print during November the same year. In 1955 it was included in volume 31 of Tchaikovsky's Complete Collected Works (1955), edited by Anatoly Aleksandrov. Autographs: Tchaikovsky's manuscript score is preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 104). Dedication: The quartet is dedicated to the memory of the violinist and quartet player Ferdinand Laub, professor at the Moscow Conservatory, who died in March 1875.
Tchaikovsky Modest Tchaikovsky Nikolay Rubinstein Rubinstein Jan Hřímalý Adolph Brodsky Gerber Wilhelm Fitzenhagen Leopold Auer Karl Davydov Anatoly Aleksandrov Ferdinand Laub Metropolitan Opera 1875 1876 1877 1891 1955
Tchaikovsky: String Quartet No. 3 in E-flat minor, Op. 30 (1876) I. Andante sostenuto (E♭ minor, 6/8) – Allegro moderato (E♭ minor, 3/4) Tchaikovsky's String Quartet No. 3 in E-flat minor, Op. 30 (TH 113 ; ČW 92) was composed and scored in January and February 1876 in Paris and Moscow. Instrumentation: Scored for 2 violins, viola and cello. Duration: A complete performance lasts around 35 to 40 minutes. Composition: Tchaikovsky began to work on the quartet between 3/15 and 10/22 January 1876 in Paris. On 26 January he returned to Moscow, from where on 10/22 February he wrote to Anatoly Tchaikovsky and Modest Tchaikovsky about his work on the quartet: "All my time... is dedicated to composing the quartet, which is already written but not yet scored". "I'm now working full steam ahead to finish the quartet which, you may remember, I began in Paris". The quartet was finished on 18 February/1 March 1876, according to the date on the manuscript score. Tchaikovsky's notes on the autograph indicate that originally the 'Andante funebre e doloroso' was meant to be the second movement, and the 'Allegretto vivo e scherzando' the third. It also appears that the composer made cuts in the first movement (12 bars after bar 210, 4 bars after bar 222, 12 bars after bar 511 and 4 bars after bar 521) around the time of the first performances in 1876. Arrangements: The third movement was also arranged for violin with piano by Tchaikovsky in 1876, as Andante funebre. Performances: The quartet was performed for the first time during a soirée at Nikolay Rubinstein's apartment on 2/14 March 1876. A further private performance took place at the Moscow Conservatory on 16/28 March 1876, with Jan Hřímalý and Adolph Brodsky (violins), Yury Gerber (viola), and Wilhelm Fitzenhagen (cello). The same performers gave the work its public premiere on 18/30 March 1876, at a concert in Moscow organised by Jan Hřímalý, and this was repeated at the second quartet concert of the Russian Musical Society in Moscow on 22 March/3 April 1876. In Saint Petersburg the quartet was first heard on 19/31 October 1876, with Leopold Auer and Ivan Pikkel (violins), Ieronim Veykman (viola) and Karl Davydov (cello). The Kiev premiere took place on 23 March/4 April 1891 at the 1st RMS quartet concert, with Otokar Shevchuk and Shutman (violins), Yevgeny Ryb (viola), and Friedrich von Mullert (cello). Other notable performances include: London, Royal Normal College & Academy of Music for the Blind, 14/26 July 1877. New York, Metropolitan Opera chamber concert, 8/20 May 1891. Publication: In October 1876, Tchaikovsky worked at correcting the proofs of the quartet for the publisher Pyotr Jurgenson, and the full score appeared in print during November the same year. In 1955 it was included in volume 31 of Tchaikovsky's Complete Collected Works (1955), edited by Anatoly Aleksandrov. Autographs: Tchaikovsky's manuscript score is preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 104). Dedication: The quartet is dedicated to the memory of the violinist and quartet player Ferdinand Laub, professor at the Moscow Conservatory, who died in March 1875.
Tchaikovsky Modest Tchaikovsky Nikolay Rubinstein Rubinstein Jan Hřímalý Adolph Brodsky Gerber Wilhelm Fitzenhagen Leopold Auer Karl Davydov Anatoly Aleksandrov Ferdinand Laub Metropolitan Opera 1875 1876 1877 1891 1955
Tchaikovsky: String Quartet No. 3 in E-flat minor, Op. 30 (1876) IV. Finale: Allegro non troppo e risoluto (E♭ major, 2/4) Tchaikovsky's String Quartet No. 3 in E-flat minor, Op. 30 (TH 113 ; ČW 92) was composed and scored in January and February 1876 in Paris and Moscow. Instrumentation: Scored for 2 violins, viola and cello. Duration: A complete performance lasts around 35 to 40 minutes. Composition: Tchaikovsky began to work on the quartet between 3/15 and 10/22 January 1876 in Paris. On 26 January he returned to Moscow, from where on 10/22 February he wrote to Anatoly Tchaikovsky and Modest Tchaikovsky about his work on the quartet: "All my time... is dedicated to composing the quartet, which is already written but not yet scored". "I'm now working full steam ahead to finish the quartet which, you may remember, I began in Paris". The quartet was finished on 18 February/1 March 1876, according to the date on the manuscript score. Tchaikovsky's notes on the autograph indicate that originally the 'Andante funebre e doloroso' was meant to be the second movement, and the 'Allegretto vivo e scherzando' the third. It also appears that the composer made cuts in the first movement (12 bars after bar 210, 4 bars after bar 222, 12 bars after bar 511 and 4 bars after bar 521) around the time of the first performances in 1876. Arrangements: The third movement was also arranged for violin with piano by Tchaikovsky in 1876, as Andante funebre. Performances: The quartet was performed for the first time during a soirée at Nikolay Rubinstein's apartment on 2/14 March 1876. A further private performance took place at the Moscow Conservatory on 16/28 March 1876, with Jan Hřímalý and Adolph Brodsky (violins), Yury Gerber (viola), and Wilhelm Fitzenhagen (cello). The same performers gave the work its public premiere on 18/30 March 1876, at a concert in Moscow organised by Jan Hřímalý, and this was repeated at the second quartet concert of the Russian Musical Society in Moscow on 22 March/3 April 1876. In Saint Petersburg the quartet was first heard on 19/31 October 1876, with Leopold Auer and Ivan Pikkel (violins), Ieronim Veykman (viola) and Karl Davydov (cello). The Kiev premiere took place on 23 March/4 April 1891 at the 1st RMS quartet concert, with Otokar Shevchuk and Shutman (violins), Yevgeny Ryb (viola), and Friedrich von Mullert (cello). Other notable performances include: London, Royal Normal College & Academy of Music for the Blind, 14/26 July 1877. New York, Metropolitan Opera chamber concert, 8/20 May 1891. Publication: In October 1876, Tchaikovsky worked at correcting the proofs of the quartet for the publisher Pyotr Jurgenson, and the full score appeared in print during November the same year. In 1955 it was included in volume 31 of Tchaikovsky's Complete Collected Works (1955), edited by Anatoly Aleksandrov. Autographs: Tchaikovsky's manuscript score is preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 104). Dedication: The quartet is dedicated to the memory of the violinist and quartet player Ferdinand Laub, professor at the Moscow Conservatory, who died in March 1875.
Today we’re looking at 3 versions of a favorite violin exercise of mine. I practice this everyday to warm up my technique and expand my abilities. It’s incredibly helpful for honing vibrato, shifts, sound production and more. The idea of playing only with 2 fingers at a time is game-changing! See which of these 3 variations (by Hrimaly, Yost and Gola) you like the most. By the way, most of my videos have accurate Spanish captions available now thanks to my student Rocio. All videos will have captions soon. / CHAPTERS / 00:00 Intro 00:42 Announcements 01:33 Summary of Hrimaly, Yost, Gola 02:22 HRIMALY 06:30 YOST 08:16 GOLA 15:13/ How to Practice these exercises** 16:26 Shifting 17:47 Role of the different parts of the arm 19:26 Sound production 20:05 "Waves" exercise 21:24 Intonation 22:01 High Positions: how-to 24:31 Vibrato 26:06 Dynamics 28:13 Dexterity Variation 28:53 Scroll Support Method Download the sheetmusic PDF for this video for FREE ► (http•••) To support the channel directly and access exclusive videos and perks: ► (http•••) BITCOIN donations here: bc1qrvgwp4elx8p7jt4u22hshkfrqrphm3fr9c4djz ETHEREUM donations here: 0x3880842448b74D306F5154b4B71181E0E03F9795 VIDEOS MENTIONED: “The Waves” (http•••) "Scroll Support": (http•••) Vibrato Series Part 1 - (http•••) Part 2 - (http•••) Part 3 - (http•••) ► My 2nd Q&A is happening soon! Submit questions in the comments section. Take violin lessons with me ► •••@••• ????I import the finest traditional foods from family-owned farms around the world ► www.trovatoschrage.com LATEST ALBUM ► hyperurl.co/5tbpdm OFFICIAL WEBSITE ► www.kurganov.org FACEBOOK ► www.fb.com/dkviolin/ VIDEO PRODUCTION ► www.overtoneartists.com SPICE CLASSICS RECORDS ► www.spice-classics.com PLAYLISTS BestPractice Series ► (http•••) Recent Performances ► (http•••) Subscribe to my channel and hit the notification bell, so you don’t miss any of my new violin videos! Upcoming topics include how to master finger dexterity, ways to speed up violin passages correctly, specialized exercises for mobility and strength for string players and techniques for musical development.
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