Anselm Hüttenbrenner Vídeos
compositor austríaco
Conmemoraciones 2024 (Nacimiento: Anselm Hüttenbrenner)
- piano
- ópera
- Austria
- compositor, pianista
Última actualización
2024-04-20
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Anselm Hüttenbrenner Freund Franz Schubert Frühling 2013
aus / from Weltliche Gesänge (Secular part songs): (http•••) CD Anselm Hüttenbrenner - Die Macht des Gesanges (The power of song): (http•••) (Camerata Musica Limburg, Jan Schumacher) Anselm Hüttenbrenner, Freund und Studienkollege von Franz Schubert, hinterließ ein beeindruckendes Œuvre für Männerstimmen. An Schuberts Stil anknüpfend, entwickelte er eine eigenständige Musiksprache von außerordentlicher Qualität und einer stilistischen wie inhaltlichen Vielfalt. Bestes Beispiel dafür ist die Gruppe der weltlichen Gesänge: Die Stücke handeln von der „Macht des Gesanges" selbst, von der Natur und vom Frühling und befassen sich mit unterschiedlichen Facetten der Liebe sowie mit nachdenklichen Themen. Demgemäß stehen mitreißenden und zupackenden Kompositionen volksliedartige, lyrische und sanft-melancholische Gesängen gegenüber. Generell komponierte Hüttenbrenner sehr feinfühlig und geistreich und achtete zugleich in jeder Stimme stets auf gute Ausführbarkeit und einen ausgewogenen Tonumfang. Diese Ausgabe enthält ein ausführliches zweisprachiges Vorwort, einen Revisionsbericht, englische Übersetzungen aller Liedtexte und zu jedem Männergesang eine Klavierstimme für die Probe sowie Angaben zum Tonumfang der einzelnen Stimmen. Ausgezeichnet mit dem Deutschen Musikeditionspreis „Best edition" (2013). Anselm Hüttenbrenner, a friend and fellow student of Franz Schubert, left an impressive œuvre of music for male voices. Picking up initially on Schubert's style, he developed an independent musical language of extraordinary quality and of great diversity of style and content. The best example of this is group of the secular part songs: The pieces are about the "power of song" itself, about nature and spring and deal with the various facets of love as well as contemplative themes. Accordingly, on the one hand, there are rousing and brisk compositions, on the other hand folksong-like, lyrical and gently melancholic part songs. In general, Hüttenbrenner composed in a very delicate and witty manner and at the same time was always mindful of good practicability and a balanced range in each part. This edition contains a detailed bilingual preface, critical remarks, English translations of all the lyrics and a piano part to each part song for male voices for rehearsals as well as indications to the range of the individual parts. Awarded with the German music editing prize "Best edition" (2013).
Anselm Hüttenbrenner Freund Franz Schubert Frühling 2013
aus / from Weltliche Gesänge (Secular part songs): (http•••) CD Anselm Hüttenbrenner - Die Macht des Gesanges (The power of song): (http•••) (Camerata Musica Limburg, Jan Schumacher) Anselm Hüttenbrenner, Freund und Studienkollege von Franz Schubert, hinterließ ein beeindruckendes Œuvre für Männerstimmen. An Schuberts Stil anknüpfend, entwickelte er eine eigenständige Musiksprache von außerordentlicher Qualität und einer stilistischen wie inhaltlichen Vielfalt. Bestes Beispiel dafür ist die Gruppe der weltlichen Gesänge: Die Stücke handeln von der „Macht des Gesanges" selbst, von der Natur und vom Frühling und befassen sich mit unterschiedlichen Facetten der Liebe sowie mit nachdenklichen Themen. Demgemäß stehen mitreißenden und zupackenden Kompositionen volksliedartige, lyrische und sanft-melancholische Gesängen gegenüber. Generell komponierte Hüttenbrenner sehr feinfühlig und geistreich und achtete zugleich in jeder Stimme stets auf gute Ausführbarkeit und einen ausgewogenen Tonumfang. Diese Ausgabe enthält ein ausführliches zweisprachiges Vorwort, einen Revisionsbericht, englische Übersetzungen aller Liedtexte und zu jedem Männergesang eine Klavierstimme für die Probe sowie Angaben zum Tonumfang der einzelnen Stimmen. Ausgezeichnet mit dem Deutschen Musikeditionspreis „Best edition" (2013). Anselm Hüttenbrenner, a friend and fellow student of Franz Schubert, left an impressive œuvre of music for male voices. Picking up initially on Schubert's style, he developed an independent musical language of extraordinary quality and of great diversity of style and content. The best example of this is group of the secular part songs: The pieces are about the "power of song" itself, about nature and spring and deal with the various facets of love as well as contemplative themes. Accordingly, on the one hand, there are rousing and brisk compositions, on the other hand folksong-like, lyrical and gently melancholic part songs. In general, Hüttenbrenner composed in a very delicate and witty manner and at the same time was always mindful of good practicability and a balanced range in each part. This edition contains a detailed bilingual preface, critical remarks, English translations of all the lyrics and a piano part to each part song for male voices for rehearsals as well as indications to the range of the individual parts. Awarded with the German music editing prize "Best edition" (2013).
Antonio Salieri Carl Schütz Schütz Gassmann Anselm Hüttenbrenner Gluck Giuseppe Bonno Ponte Albrechtsberger Michael Haydn Haydn Georg Reutter Reutter Eybler Leopold Hofmann Hofmann Opera Vienna 1745 1750 1763 1765 1766 1771 1773 1774 1775 1778 1780 1781 1782 1784 1786 1788 1800 1804 1820 1824 1825 1860
★ Follow music ► (http•••) Composer: Antonio Salieri +••.••(...)) Work: Orgelkonzert C-Dur (1773) Performers: Anton Gansberger (organ); Leondinger Symphony Orchestra Drawing: Carl Schütz +••.••(...)) - Námestie vo Viedni (1780) Image in high resolution: (http•••) Painting: Joseph Willibrord Mähler +••.••(...)) - Antonio Salieri Image in high resolution: (http•••) Further info: (http•••) Listen free: No available / Antonio Salieri (Legnago, 18 August 1750 - Vienna, 7 May 1825) Italian composer, mainly active in Vienna. Born in Legnago in the Veneto, he studied violin and keyboard with his brother Francesco and with a local organist, Giuseppe Simoni. After the deaths of his parents between 1763 and 1765 he was taken to Venice, where his musical education continued. The Viennese composer F.L. Gassmann, in Venice to oversee the production of his opera Achille in Sciro in 1766, noticed Salieri's talent and ambition and took the youth back to Vienna with him. Under Gassmann's direction he began an intensive programme of musical training. Described by his student Anselm Hüttenbrenner as ‘the greatest musical diplomat’, Salieri won the friendship of people who could help him build a career. Having earned Gassmann's paternal affection, he developed close relations with Metastasio, Gluck and Joseph II. Opportunities to write operas soon offered themselves to Salieri. His success in Vienna owed much to the support of Joseph II, who was also helpful to him in Italy and France through his influence with his brothers Leopold (Grand Duke of Tuscany) and Ferdinand (governor of Lombardy) and his sister Marie Antoinette. As early as 1771 Joseph sent a copy of Armida to Leopold, reporting that it had been performed with great success in Vienna. The following year he asked Leopold about the possibility of Salieri writing an opera for Florence. When Gassmann died in 1774 Joseph appointed Salieri his successor as Kammerkomponist, an appointment that led to his also being made, at only 24 years of age, Gassmann's successor as music director of the Italian opera in Vienna. Between 1778 and 1780 he wrote five operas for theatres in Milan. In 1780 Joseph II commissioned him to write a Singspiel to be performed by the Nationaltheater's German troupe: one of only two operas in German by Salieri, Der Rauchfangkehrer (1781) enjoyed considerable success until it was overshadowed by Mozart's Die Entführung aus dem Serail. Salieri's exploration of operatic genres continued in 1782. Gluck, too weak to undertake the composition of a work commissioned by the Paris Opéra, handed the commission to Salieri. Armed with a letter of recommendation from Joseph, he went to Paris for the first time to oversee the production of Les Danaïdes (1784). Its success led to commissions for two more French operas, and during the rest of the decade Salieri divided his time and energy between composing tragédie lyrique in Paris and opera buffa in Vienna. The second of his French operas, Les Horaces, failed when it was given in 1786, but the following year he achieved one of his greatest operatic triumphs with Tarare, on a libretto by Beaumarchais. Returning to Vienna in 1784 after the première of Les Danaïdes, Salieri busied himself with composing and directing Italian comic operas at the Burgtheater. In February 1788 Joseph granted the position of Hofkapellmeister to Salieri, who had frequently acted in that capacity since 1775 for the ailing Giuseppe Bonno. Salieri succeeded Bonno in March 1788. He remained in this office until his retirement in 1824, his tenure the longest in the history of the Hofmusikkapelle. The 1790s left Salieri without the steadfast patronage of Joseph II, without the opportunity to write operas for Paris (cut off from him by the Revolution), without the theatrical talent of Da Ponte and without the stimulating rivalry of Mozart. Salieri's last complete opera, Die Neger, was given to sparse applause in 1804. As Hofkapellmeister, Salieri attended closely to the selection of new instrumentalists and singers, filling such posts as organ builder, overseeing the acquisition of instruments and keeping the music library in good order. Hofkapelle records for the period from 1820 to Salieri's retirement in 1824 show that for regular services under his direction he most frequently chose masses by Albrechtsberger, Joseph and Michael Haydn, Georg Reutter the younger, Eybler, Leopold Hofmann and Mozart. Salieri, who benefited so much from his teachers and mentors, devoted much of his energy to teaching, especially after retiring from operatic composition.
Anselm Hüttenbrenner Shi Schmelzer Dauer 2007
Yijie Shi Tenor, Peter Schmelzer-Ziringer Klavier, www.p-schmelzer-ziringer.at Konzert des Anselm Hüttenbrenner-Fördervereines für junge Künstler www.huettenbrennerfoerderverein.at, Pfarrkirche Graz-St.Veit, 2007, Dauer: 8.23
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- cronología: Compositores (Europa). Intérpretes (Europa).
- Índices (por orden alfabético): H...