Alexandre-Étienne Choron Vídeos
músico francés
Conmemoraciones 2024 (Muerte: Alexandre-Étienne Choron)
- Francia
- musicólogo, pedagogo, profesor de música, teórico de la música
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2024-06-29
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Mozart Levin Carlos Kalmar Anett Fritsch Fritsch Clara Mouriz Paul Nilon Robert Holl Fasch Giovanni Punto Joseph Haydn Jan Ladislav Dussek Giovanni Paisiello Andreas Romberg Romberg Johann Gottfried Schicht Weber Beethoven Franz Schubert Alexandre Étienne Choron Ludwig Berger Berger Frédéric Chopin Luigi Lablache Gioacchino Rossini Hector Berlioz Charles Hallé Peter Cornelius Carl Wilhelm Müller Niemeyer Weld Westmorland Wiseman Liber Vix Sequentia Rtve Symphony Orchestra 1800 1801 1803 1805 1809 1810 1811 1812 1816 1817 1819 1821 1823 1826 1827 1828 1832 1834 1837 1838 1839 1840 1842 1849 1858 1860 1865 1867 1868 1869 1895
RTVE Symphony Orchestra. Carlos Kalmar, cnd. Anett Fritsch, Clara Mouriz, Paul Nilon and Robert Holl, soloists [Симфонический оркестр Испанского радио и телевидения] “Comment croire, après une pareille audition, que l'univers n'ait aucun sens?" [Emil CIORAN] 레퀴엠 D단조 (모차르트) (K.V. 626) “Un souffle de l'au-delà y plane. Comment croire, après une pareille audition, que l'univers n'ait aucun sens? Il faut qu'il en ait un. Que tant de sublime se résolve dans le néant, le coeur, aussi bien que l'entendement, refuse de l'admettre. Quelque chose doit exister quelque part, un brin de réalité doit être contenu dans ce monde. Ivresse du possible qui rachète la vie. Craignons le retombement et le retour du savoir amer...” ― Emil Cioran, Notebooks (Robert D. Levin rev. and compl.) / Use of the Requiem (wiki.) 19th-century musicians whose funerals or memorial services used Mozart's Requiem included Carl Fasch (1800); Giovanni Punto (1803); Joseph Haydn (1809); Jan Ladislav Dussek (1812); Giovanni Paisiello (1816); Andreas Romberg (1821); Johann Gottfried Schicht (1823); Carl Maria von Weber (1826); Ludwig van Beethoven (1827); Franz Schubert (1828); Alexandre-Étienne Choron (1834); Mme Blasis (1838); Ludwig Berger (1839); Frédéric Chopin (1849); Luigi Lablache (1858); Gioacchino Rossini (1868); Hector Berlioz (1869); and Charles Hallé (1895). 19th-century artists whose funerals or memorial services used Mozart's Requiem included Friedrich Schiller (1805); Heinrich Joseph von Collin (1811); Johann Franz Hieronymous Brockmann (1812); Johann Wolfgang von Goethe (1832); and Peter von Cornelius (1867). Among other 19th-century figures whose funerals or memorial services used Mozart's Requiem included Carl Wilhelm Müller (1801); Jean Lannes, 1st Duc de Montebello (1810); Princess Charlotte of Wales (1817); Maria Isabel of Portugal (1819); August Hermann Niemeyer (1828); Thomas Weld (1837); Napoleon (1840); John England (1842); John Fane, 11th Earl of Westmorland (1860); and Nicholas Wiseman (1865). / III. Sequence 2. Tuba mirum Tuba mirum spargens sonum per sepulcra regionum, coget omnes ante thronum. Mors stupebit et natura, cum resurget creatura, judicanti responsura. Liber scriptus proferetur, in quo totum continetur, unde mundus judicetur. Judex ergo cum sedebit, quidquid latet, apparebit, nil inultum remanebit. Quid sum miser tunc dicturus? quem patronum rogaturus, cum vix justus sit securus? /
Henri Brod Castil Blaze Blaze Frédéric Chalon Alexandre Choron Antoine Reicha Hector Berlioz Jean Georges Kastner Maurice Raoulx Sellner Apollon Marie Rose Barret Vogt Verroust 1826 2003
Amazon-FR: (http•••) Tous les textes théoriques, méthodes, traités, articles, concernant le hautbois, sont reproduits en fac-similé, et regroupés en 3 volumes.volume 1 (réf. 5861) : Henri Brod François Joseph Castil-blaze Frédéric Chalon Alexandre Choron Antoine Reicha Gustave Vogt.volume 2 5862) : Hector Berlioz Jean Georges Kastner (1-2) Miller Maurice de Raoulx Sellner Louis-auguste Veny.volume 3 5863) : Apollon Marie Rose Barret Emile Corret Charles Dupart Stanislas Verroust.table matières :volume 1 :chalon : pour le anglais 1802choron : général voix et instruments 1813vogt : de c. 1813reicha : Cours de composition musicale 1816castil-blaze : Dictionnaire de musique moderne 1825brod : Grande de 1826/1835volume 2 :veny : abrégée le 1828sellner : le 1835kastner : d'instrumentation 1836choron : Manuel complet de 1836raoulx de : de 1841miller : de 1843kastner : élémentaire le 1844berlioz : 1844volume 3 :barret : complète de 1850corret : Tablature générale du 1854verroust : le 1857dupart : polyphonique 1859auteur : Giboureau Michelformat : 24 x 33nombre de pages : 904date de parution : 04/2003
Jacques Arcadelt Pierre Louis Philippe Dietsch Fétis Choron Niedermeyer Anton Reicha Wagner Berlioz 1808 1822 1830 1842 1853 1865
Pierre-Louis Dietsch +••.••(...)) was a French composer and conductor, perhaps best remembered for the much anthologized Ave Maria 'by' Jacques Arcadelt, which he loosely arranged from that composer's three part madrigal Nous voyons que les hommes. He was born Pierre-Louis-Philippe Dietsch in Dijon.[3] Fétis has reported that Dietsch was a choirboy at the Dijon Cathedral, and beginning in 1822 studied at Choron's Institution Royale de Musique Classique et Religieuse in Paris. Later, after 1853, Dietsch was a teacher at the Ecole Niedermeyer (successor of Choron's Institution), a position he held up until his death. In 1830 Dietsch entered the Paris conservatory and studied with Anton Reicha. His subjects included double bass and counterpoint (with Reicha). Dietsch composed church music as well as an opera Le vaisseau fantôme, ou Le maudit des mers ("The Fantom Ship, or The Accursed of the Sea"), which was first performed on 9 November 1842 at the Paris Opera. The libretto by Paul Foucher and H. Révoil was based on Walter Scott's The Pirate as well as Captain Marryat's The Phantom Ship and other sources, although Wagner thought it was based on his scenario for Der fliegende Holländer, which he had just sold to the Opera. The similarity of Dietsch's opera to Wagner's is slight, although Wagner's assertion is often repeated. Berlioz thought Le vaisseau fantôme too solemn, but other reviewers were more favourable. This setting of "Ave Maria" is not by Jacques Arcadelt. It is an arrangement by Louis Dietsch +••.••(...)) of Arcadelt's "nous voyons que les hommes", written for female voices. The bass part in particular is entirely Dietsch's work Although this work was originally written for Chorus (SATB), I created this arrangement for Solo Acoustic Piano.
Ferdinand Hiller Diener Schmitt Hofmann Georg Jacob Vollweiler Mozart Felix Mendelssohn Fanny Mendelssohn Johann Nepomuk Hummel Beethoven Johann Michael Vogl Franz Schubert Choron Rossini Robert Schumann Max Bruch Lichtenstein Brahms Franz Wüllner Wagner Liszt Richard Strauss Leipzig Gewandhaus Orchestra Gewandhaus Gürzenich 1811 1822 1825 1827 1828 1835 1836 1840 1843 1845 1847 1849 1850 1852 1868 1873 1884 1885 1994
It is my express wish that any and all monies I might receive from publication of this video be forwarded to the performers instead. If they, or a label, desire the removal of this video please contact me. Ferdinand Hiller +••.••(...)) Piano Quintet in G Major, Op. 156 (1873) I. Allegro con anima 0:00 II. Adagio espressivo 12:00 III. Intermezzo: Allegretto leggiero 22:17 IV. Finale: Allegro con molto fuoco 27:04 Oliver Triendl, piano The Minguet String Quartet (Ulrich Isfort - 1st Violin, Annette Reisinger - 2nd Violin, Aroa Sorin - Viola, Matthias Diener - Cello Ferdinand Hiller was born to a wealthy Jewish family in Frankfurt am Main, where his father Justus (originally Isaac Hildesheim, a name that he changed late in the 18th century to conceal his Jewish origins) was a merchant in English textiles – a business eventually continued by Ferdinand’s brother Joseph. Hiller’s talent was discovered early and he was taught piano by the leading Frankfurt musician Alois Schmitt, violin by Jörg Hofmann, and harmony and counterpoint by Georg Jacob Vollweiler; at 10 he performed a Mozart concerto in public; and two years later, he produced his first composition. In 1822, the 13-year old Felix Mendelssohn entered his life. The Mendelssohn family was at that time staying briefly in Frankfurt and the young Hiller visited them where he was immensely impressed by the playing of Felix (and even more so by that of his sister Fanny Mendelssohn). When their acquaintance was renewed in 1825 the two boys found an immediate close friendship, which was to last until 1843. Hiller tactfully describes their falling out as arising from "social, and not from personal susceptibilities." But in fact it seems to have been more to do with Hiller’s succession to Mendelssohn as director of the Leipzig Gewandhaus Orchestra in 1843. From 1825 to 1827, Hiller was a pupil of Johann Nepomuk Hummel in Weimar; while he was with Hummel at Beethoven’s deathbed, Hiller secured a lock of Beethoven's hair. This lock is now at the San Jose State University, after having been sold at Sotheby’s in 1994. While in Vienna for Beethoven's obsequies, Hiller and Hummel heard Johann Michael Vogl and Franz Schubert perform Schubert's Winterreise. Hiller wrote that his master was so moved that tears fell from his eyes. From 1828 to 1835, Hiller based himself in Paris, where he was engaged as teacher of composition at Choron's School of Music. He eventually gave up his position so that he might better equip himself as a pianist and composer. He spent time in Italy, hoping that this would assist him to write a successful opera (a hope which was never fulfilled). In 1836, he was in Frankfurt devoting himself to composition. His abilities were recognized, and although but 25, he was asked to act as conductor of the Cäcilienverein during the illness of its conductor Schelble. In addition to Mendelssohn, he attracted the attention of Rossini who assisted him to launch his first opera, Romilda (which was a failure), at Milan. Mendelssohn obtained for Hiller an entrée to the Gewandhaus, and afforded an opportunity for the public presentation of Hiller's oratorio Die Zerstörung Jerusalems (The destruction of Jerusalem, 1840). After a year of study in Church music at Rome, Hiller returned to Leipzig, and during the season of 1843-44 conducted the Gewandhaus concerts. By this time his position in the musical world was established, and honors and appointments were showered upon him. In 1845 Robert Schumann dedicated to Hiller his piano concerto. Hiller became municipal kapellmeister of Düsseldorf in 1847, and in 1850 received a similar appointment at Cologne, where he founded Cologne Conservatoire that year and remained as Kapellmeister until 1884. During this time, he was twelve times festival director of the Lower Rhenish Music Festival, and conducted the Gürzenich concerts. He worked in Dresden as well. Thus he played a leading part in Germany's musical life. And he was conductor at the Italian Opera in Paris during the season of 1852-53. During Hiller’s long reign in Cologne, which earned him a ‘von’ to precede his surname, his star pupil was Max Bruch, the composer of the cello elegy Kol Nidrei, based on the synagogue hymn sung at Yom Kippur. Bruch was not Jewish; his knowledge of the theme of Kol Nidrei came through Hiller, who introduced him to the Berlin chazan, Lichtenstein. Hiller’s regime at Cologne was strongly marked by his conservative tastes, which he attempted to prolong by recommending, as his successor in 1884, either Brahms or Bruch. The appointment went however to a "modernist", Franz Wüllner, who, according to Grove "initiated his term [...] with concerts of works by Wagner, Liszt and Richard Strauss, all of whom Hiller had avoided." Hiller was elected a member of the Royal Academy of Fine Arts, Berlin, in 1849, and in 1868 received the title of doctor from the University of Bonn. He died in Cologne.
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- cronología: Compositores (Europa). Intérpretes (Europa).
- Índices (por orden alfabético): C...