Marianna von Martines News
singer, pianist and composer
Commemorations 2024 (Birth: Marianna von Martines)
- piano, voice
- soprano
- opera
- Austrian Empire
- composer, singer, musicologist, pianist, patron of the arts
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2024-03-12
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2023-11-09 20:44:13
2023-10-10 11:43:00
Philharmonie Marianna Martines: Sinfonia in C major Mozart: Piano Concerto no.23 in A major, KV 488 Franz Schmidt: Symphony no.2 in E-flat major Evgeny Kissin (piano)Berlin Philharmonic OrchestraFabio Luisi (conductor)Image: Martin Walz / Berliner PhilharmonikerThis concert from Evgeny Kissin, the Berlin Philharmonic, and Fabio Luisi brought together three very different works from composers working in present-day Austria. (Mozart, of course, came from Salzburg, which only became part of Austria some years after his death, but he had been living and working in Vienna for some time.) Mozart’s A major Piano Concerto, KV 488, is an imperishable masterpiece, even amongst his piano concertos. Haydn pupil Marianna Martines’s C major Sinfonia proved pleasant, even interesting, to hear, if hardly something to which many would frequently return. As for Franz Schmidt’s Second Symphony, I know it has its devotees, and I was keen to give it a second chance, having heard […]
2023-09-26 07:06:00
A Lady and her Reputation: with modern recordings of Smyth's major works in the catalogue, we now need to put her work into a proper context
[…] No. 3, the Piano Concerto and the opera remained mere sketches, his Cello Concerto of 1919 a swan song. Smyth, on the other hand, seems to have dusted herself off and reinvented herself. Fête galante premiered in 1923, Entente Cordiale in 1926 and The Prison in 1931, there were performances of the Mass in the 1920s plus one in the Royal Albert Hall for her 75th birthday in 1934.As each new recording of her major works has been issued since Odaline de la Martinez conduct The Wreckers on disc in 1994, there has been the sense of certain critics re-legislating the past and justifying the composer's past and continuing neglect. Reading a broad cross section of the reviews of Glyndebourne's production of The Wreckers last year made fascinating, if depressing reading. Most of the major British reviews were by men of a certain age, and a worrying number spent far to much time going over why they'd dismissed Smyth in […]
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