Ignaz Josef Pleyel Videos
österreichischer Komponist, Klavierbauer und Musikverleger
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- Oper, Sinfonie, klassische Musik, liturgische Musik
- Österreich, Frankreich
- Klavier- und Cembalobauer, Musikverleger, Komponist, Pianist
Letzte Aktualisierung
2024-03-27
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Fryderyk Chopin Tomasz Ritter Ritter Pleyel Franz Schubert Beethoven Kawai 1727 1770 1796 1797 1810 1823 1828 1836 1840 1847 1849 2018
Wir sind es gewohnt, dass uns die Musik vergangener Epochen auf modernen Instrumenten präsentiert wird. Das 3. Chopin Festival nimmt Sie mit auf eine Klangreise in das 19. Jahrhundert - die Zeit Chopins, seiner Zeitgenossen und der berühmten Konzertsalons. Mehr Informationen unter www.chopin-festival.de »Mittagskonzert am Pleyel-Flügel« Tomasz Ritter Pleyel (1847) Werke von F. Schubert, L. van Beethoven, F. Chopin Unterstützen Sie die Chopin-Gesellschaft Hamburg & Sachsenwald e.V. mit Ihrer Spende unter (http•••) 2018 gewann der polnische Nachwuchspianist Tomasz Ritter im Alter von 23 Jahren in Warschau den ersten Internationalen Chopin-Wettbewerb auf historischen Klavieren. Mit vielen Preisen ausgezeichnet steht der Ausnahmemusiker mit Schwerpunkt auf historischen Tasteninstrumenten seitdem am Beginn einer großen internationalen Karriere und spielte bereits auf mehreren Kontinenten; von Kritikern und Publikum begeistert gefeiert. (http•••) Programm: Pleyel, Paris 1847 Ludwig van Beethoven (1770–1727) Sonata F-Dur op. 10 Nr. 2 (1796–98) Allegro | Allegretto | Presto Fryderyk Chopin (1810–1849) Nocturne Des-Dur op. 27 Nr. 2 (1836) Fryderyk Chopin (1810–1849) Ballade Nr. 3 As-Dur op.47 (1840/41) Franz Schubert (1797–1828) Sonata a-Moll Nr. 14 D 784 (1823) Allegro giusto | Allegro vivace | Andante Das 3. Chopin Festival Hamburg ist eine Veranstaltung der Chopin-Gesellschaft Hamburg & Sachsenwald e.V. Schirmherrschaft durch Prof. Andrzej Przyłębski, Botschafter der Republik Polen in Berlin. Ermöglicht wird das Livestream-Konzerterlebnis durch ORLEN Deutschland und ihre star-Tankstellen - offizieller Hauptsponsor und Auftankpartner, KAWAI Europa und der Hans Brökel Stiftung für Wissenschaft und Kultur. Wir danken außerdem der Hochschule für Musik und Theater Hamburg sowie dem Museum für Kunst und Gewerbe Hamburg.
Rémy Cardinale, piano historique Pleyel (n°8888, 1841) Projection du film "Pleyel n°8888" de Sébastien Renaud, mercredi 21 août 2019 à 15h00 à la Salle du point de rencontre de Sainte-Marguerite-sur-Mer - entrée libre La projection sera suivie d'un échange avec Sébastien Renaud et L'Armée des Romantiques. (http•••)
Bach Ewa Pobłocka Fryderyk Chopin Hansen Martha Argerich Viotti Glenn Gould Kazimierz Kord Antoni Wit Rappe Olga Pasichnyk Ewa Podleś Andrzej Panufnik Witold Lutosławski Szymański Paweł Mykietyn Grieg Brahms Schumann Pleyel Rameau Couperin Scarlatti Soler Castaldi Liszt Auditorio Nacional Madrid Barbican Centre Wigmore Hall Musikverein Lincoln Center Maggio Musicale Fiorentino London Symphony Orchestra English Chamber Orchestra Orchestra Maggio Musicale Fiorentino Sinfonia Varsovia Polish National Radio Symphony Orchestra 1848 1977 1979 1980 1981 1982 2004 2007 2009 2010
Ewa Pobłocka - piano, rec. 08.12.1981 A prize-winner of the Tenth International Fryderyk Chopin Piano Competition in Warsaw, Ewa Pobłocka also received the prize for the best performance of Chopin mazurkas (1980). She began taking piano lessons when she was five. She pursued her studies at Gdańsk Music Academy under Zbigniew Śliwiński and Jerzy Sulikowski, and received her diploma with distinction in 1981. She completed post-graduate studies in Hamburg under Conrad Hansen (1982) and has benefitted from artistic consultation with Jadwiga Sukiennicka, Rudolf Kerer, Tatiana Nikolaieva and Martha Argerich. In 1977, she won First Prize in the International Viotti Music Competition in Vercelli, and in 1979 the gold medal at the International Festival of Young Laureates in Bordeaux. She has performed throughout Europe and the Americas, as well as in the Far East and Australia, in such venues as the Herkules-Saal in Munich, Musikhalle in Hamburg, Auditorio Nacional in Madrid, Barbican Centre and Wigmore Hall in London, Musikverein in Vienna, Lincoln Center in New York and Glenn Gould Studio in Toronto. She has played as a soloist with the London Symphony Orchestra, English Chamber Orchestra, Orchestra del Maggio Musicale Fiorentino, Bayerischers Rundfunkorchester, Sinfonia Varsovia and Polish National Radio Symphony Orchestra and has repeatedly toured as a Warsaw Philharmonic Orchestra soloist under the baton of Kazimierz Kord and Antoni Wit. Ewa Pobłocka is a passionate chamber musician and has regularly performed with the Silesian Quartet, as well as singers like Jadwiga Rappe, Olga Pasichnyk and Ewa Podleś. She has given numerous premieres and made world premiere recordings of works by Polish contemporary composers, including piano concertos by Andrzej Panufnik, Witold Lutosławski, Paweł Szymański and Paweł Mykietyn. She has performed for many European radio stations and recorded for such labels as Polskie Nagrania ‘Muza’, Deutsche Grammophon, Pony Canyon, Victor JVC, CD Accord and BeArTon. Many of her recordings have won prizes and critical acclaim. Her most recent CDs have featured Grieg’s complete piano works, solo works by Brahms and Schumann and the complete songs of Chopin. In 2010, the Fryderyk Chopin Institute released her CD with Chopin’s Mazurkas and Sonata in C minor on period piano (Pleyel, 1848). Pobłocka is also a distinguished teacher. As well as teaching piano at Bydgoszcz Music Academy and the Fryderyk Chopin University of Music in Warsaw, she is also a guest professor at the National University of Fine Arts and Music in Tokyo and Nagoya. She has sat on the jury of many international piano competitions and received the annual Ministry of Culture and National Heritage Award and the Cavalier’s Cross of the Polonia Restituta Order from the Polish President (2004). Ewa Pobłocka performed in the ‘Chopin and his Europe’ festival in 2007, 2009, 2010. (chopin.nifc.pl) NA MOIM KANALE (ON MY CHANNEL): (playlisty z przesłanych filmów, sent films in playlists) Polska muzyka ludowa (Polish Folk Traditional Music) (http•••) Tradycyjna muzyka góralska (Polish Gorals’ Music) (http•••) Polska muzyka renesansowa i barokowa (Polish Renaissance and Baroque Music) (http•••) Polska muzyka XVIII i XIX wieku (Polish Music of 18 and 19 century) (http•••) Pan Wołodyjowski Potop muzyka (http•••) Polskie pieśni patriotyczne (Polish Patriotic Songs) (http•••) Polska muzyka symfoniczna okresu klasycyzmu (Polish Symphony Music of Classical Period) (http•••) Rameau Couperin Scarlatti Soler Castaldi (http•••) Polska muzyka średniowieczna (Polish Medieval Music) (http•••) Chopin (http•••) Liszt (http•••) Polska muzyka XX wieku (Polish Music of 20 c.) (http•••) Polski folk (http•••) Góry polskie zdjęcia (http•••) Polska muzyka filmowa (Polish Film Music) (http•••) Polskie organy Leżajsk Oliwa Kamień Pomorski (Polish Organs) (http•••)
Chopin Zimerman Robert Schumann Pleyel Julian Fontana 1839 1840
Chopin Ballade No.2 Op 38 in F major/ A minor - Kystian Zimerman A new Chopin Ballade has appeared’, noted Robert Schumann in his diary in October 1840. ‘It is dedicated to me’, he continued. ‘It gives me greater joy than if I’d received an order from some ruler’. He immediately reviewed it in the Neue Zeitschrift für Musik, including in his account a mention of Chopin’s stay in Leipzig four years previously. ‘I recollect very well that when Chopin played the ballade here, it ended in F major; now it closes in A minor.’ Besides this, ‘its impassioned episodes seem to have been inserted afterwards.’[i] Here we have a problem. The account is too detailed to surmise that Schumann’s memory was faulty. There is much to suggest the existence of some earlier version of this work – a version that Chopin presented to Schumann and his inner circle during the second of their memorable encounters. Moreover, we know for certain that Chopin was working on the F major Ballade in Majorca. In January 1839, after a Pleyel piano had arrived from Paris, he informed Julian Fontana: ‘You’ll soon receive the Preludes and the Ballade’. And a couple of days later, when sending the manuscript of the Preludes: ‘In a couple of weeks, you’ll receive the Ballade, Polonaises [in A flat major and C minor] and Scherzo’. So the ultimate shape of the Ballade was conceived in Majorca. It was there, in the atmosphere of an abandoned monastery, surrounded by wondrous, wild nature, that the idea of contrasting the music of a soft and tuneful siciliana with the music of a demonic presto con fuoco – the music of those ‘impassioned episodes’, as Schumann called them – must have arisen. Read it at all on: (http•••) 0:00 Introduction 0:04 Theme I in F major/A minor/ C major. 2:05 Theme II in A minor/ G minor, something like a thunder. 2:29 Development in D minor/F minor/Ab minor. 2:53 Transition. 3:01 It starts like theme I but... 3:18 Theme I in A minor, like in the beginning. 3:36 Transition. 5:10 Theme II now in D minor/A minor. 5:30 Transition for something new... 5:52 Coda explosive and beautiful. 6:24 Something like theme II. 6:37 Something like the theme I that ends the song in a mournful way. Sheet: (http•••)
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