Bernhard Sekles Vídeos
compositor alemán
Conmemoraciones 2024 (Muerte: Bernhard Sekles)
- piano
- ópera
- Alemania
- compositor, director de orquesta, pianista, profesor de música
Última actualización
2024-04-28
Actualizar
Die Oper Halle bietet auch in der Spielzeit ein abwechslungsreiches Programm aus Opern und Musicals. Neu kommen zu den im Trailer gezeigten Produktionen beliebte Werke wie Mozarts "Zauberflöte" und Tschaikowskis "Pique Dame" hinzu. Einen besonderen Höhepunkt stellen die Wiederaufführung der Oper "Schahrazade" des verfemten Komponisten Bernhard Sekles und die Deutsche Erstaufführung des Musicals "Peter Pan" von George Stiles dar. Als Händel-Festspielproduktion wird in dieser Saison die selten aufgeführte Opera seria "Arminio" zu erleben sein. Das Ballett Rossa wird mit Tolstois "Anna Karenina" und Shakespeares "Die Zähmung der Widerspenstigen" zwei Klassiker der Weltliteratur als Handlungsballette präsentieren.
Bernhard Sekles Josep Caballé Domenech Axel Köhler Köhler Gast Vogel Ertel Kämmerer Schöder Ulrich Burdack Mária Wilhelm Furtwängler 1917
Für ENSEMBLE Seiten zum Programmheft Eine Oper in drei Akten | Musik von Bernhard Sekles Dichtung von Gerdt von Bassewitz Musikalische Leitung Josep Caballé-Domenech Inszenierung Axel Köhler Bühne Arne Walther (Gast) Kostüme Henrike Bromber (Gast) Choreinstudierung Jens Petereit Dramaturgie André Meyer Schahryar Gerd Vogel Said-Fares Ki-Hyun Park Omar Ralph Ertel Schahrazade Anke Berndt Dunyazade Ines Lex Saad, Tochter eines Emirs / Banjospielerin Theresa Dittmar (Gast) Musair, ein Kaufherr aus Balsora / Der Kämmerer Thomas Möwes (Gast) Der Obereunuch Ks. Nils Giesecke Der Schatzmeister Olaf Schöder Der Oberstallmeister Ulrich Burdack Banjospielerin Sandra Maxheimer Banjospielerin Mária Petrašovská Video: Nadine Feketitsch Anfang des 20. Jahrhunderts erfreuten sich orientalische Stoffe bei Musikern großer Beliebtheit. Auch die arabische Geschichtensammlung »Aus Tausendundeiner Nacht« fand ihren Weg auf die Opernbühne: 1917 brachte der Frankfurter Komponist Bernhard Sekles, der vor allem als Lehrer Paul Hindemiths bekannt geworden ist, seine auf einem Libretto von Gerdt von Bassewitz beruhende Oper »Schahrazade« in Mannheim heraus. Als Handlung der Oper nutzt von Bassewitz einzig die Rahmenhandlung der orientalischen Märchensammlung und legt so ein besonderes Augenmerk auf die eine Nacht, in der Schahrazade die Liebe des Kalifen gewinnt: Dieser hatte / durch die Untreue seiner ersten Ehefrau verletzt / geschworen, jede Frau, mit der er eine Nacht verbringt, töten zu lassen. Aus diesem Grund hält der Großwesir Said-Fares seine Tochter Schahrazade vor ihm versteckt. Als diese von dem Schwur des Kalifen hört, beschließt sie, zu ihm zu gehen, um ihm Frieden zu schenken. Als Schahryar, zunächst unbeeindruckt von der jungen Frau, ihre Aufrichtigkeit erkennt, da sie ihren Vater daran hindert, den Kalifen zu ermorden, bedeutet er dem Henker, der Schahrazade hinrichten wollte, zu gehen, da sie ihm in den folgenden tausend Nächten Märchen erzählen soll ... »Schahrazade« verknüpft wirksam einen populären Stoff, psychologisches Kammerspiel und Musik in der Tradition der Spätromantik miteinander. Ihre Uraufführung erlebte die Oper am 2. November 1917 unter der musikalischen Leitung des jungen Wilhelm Furtwängler. Nach dem Zweiten Weltkrieg galt die Partitur als verschollen. Erst auf Initiative der Oper Halle wurde sie in den Bibliotheken von München und Stuttgart wiederentdeckt, so dass eine erneute Aufführung des Werkes möglich wird.
Sloane Dwyer Heiden Meyers Whittemore Davenport Bozza Mathews Belmont Bernhard Sekles Paul Hindemith Eugene Rousseau Rousseau Larry Teal Jean Baptiste Singelée Adolphe Sax Demersseman 1812 1862 1875 1905 1910 1937 1943 1970 1991 2000
Thanks to Jake Dwyer for filming and editing this video! Accompanist is Syneva Cole Program: Intrada- Bernhard Heiden +••.••(...)) Melissa Meyers- Flute Brittany Whittemore- Oboe Amelia Yann- Clarinet Sammi Davenport- Horn Emily Hyslop- Bassoon Sonata for E flat Saxophone and Piano Movement II Vivace- Bernhard Heiden +••.••(...)) Andante et Scherzo- Eugene Bozza +••.••(...)) Alex Mathews- Alto Saxophone Aaron Gosnell- Tenor Saxophone Charles Kay- Baritone Saxophone Caprice- Jean Baptiste Singlee +••.••(...)) Sloane Thomas is a student of Dr. Alex Graham and this recital is for the degree requirements for a Bachelor of Music in Music Education from Belmont University in Nashville, Tennessee. Intrada- Bernhard Heiden +••.••(...)) Bernhard Heiden was born in Frankfurt, Germany on August 24, 1910. His musical training started at the age of five and he was composing short piano pieces by age six. In addition he studied theory and harmony with Bernhard Sekles who had been a teacher of Paul Hindemith. Intrada was commissioned by the National Association of College Wind and Percussion Instructors (NACWPI) and was written for saxophonist Eugene Rousseau and the American Woodwind Quintet. Its premiere performance was in March of 1970 at the Music Educators National Conference in Chicago. Intrada is orchestrated for oboe, flute, clarinet, horn, saxophone, and bassoon. This piece is one movement but is broken up into sections through time signature and style changes. The beginning of the piece starts out very slow and then starts to speed up to a faster more lively tempo. The fast pace continues until the style changes once again and the piece becomes slower and more tranquil. These types of tempo and style changes happen throughout the piece with it ending similar to the beginning, bringing the piece full circle. Sonata for E-Flat Saxophone and Piano Vivace- Bernhard Heiden +••.••(...)) Bernhard Heiden's Sonata for E-Flat Saxophone and Piano is one of the earliest major works for saxophone and is part of the standard repertoire of classical saxophone literature. It was the first piece Bernhard Heiden composed for saxophone. Sonata was written in Detroit in 1937 for saxophonist Larry Teal and was published in 1943. Heiden chose to write this piece for Teal because they were close friends and he admired his ability to play the saxophone. The first performance of Sonata took place on April 8, 1937 at a meeting of the Bohemians Club. The forms that are used in the three movements are traditional forms, such as sonata-allegro and rondo, with twentieth-century variations. There is a common underlying musical idea throughout the piece such as the intervals and ambiguity between major and minor tonality. The second movement of the Sonata is a five-part ABACA rondo form. The staccato quarter notes in the first five measures of the A theme establish the driving character of the movement. Andante et Scherzo- Eugene Bozza +••.••(...)) Eugene Bozza was a prominent 20th century French composer. Bozza was among the first composers to write music for the saxophone. This was due to the fact that the French perfected the classical saxophone technique. This particular quartet is written for soprano, alto, tenor, and baritone saxophone. The first movement begins with a tenor solo that is then echoed by the soprano's entrance. The melodic fluency, elegant structure, and consistently sensitive concern for instrumental capabilities make this first movement representative of the impressionistic style. Caprice- Jean Baptiste Singelée +••.••(...)) Jean Baptiste Singelée was born in Brussels and was a conductor, composer, and violin player in various orchestras. He was a prolific composer and wrote many works such as two concertos and numerous fantasies for violin, other instrumental pieces and ballet music. He was a close friend of Adolphe Sax and was among those who persuaded Sax to develop the family of the four main saxophones that make up a quartet. Only he and Demersseman took an interest in each of the four instruments. Singelée wrote for all of them, leaving about twenty fantasias and competition solos for final examinations, and two quartets. This piece was written in 1862 and used for the Paris Conservatoire end of the year competition. It contains all the typical characteristics of similar set works, whereby a slow and expressive first movement with a cadenza is followed by a rapid, virtuoso movement. This work thus enabled the jury to assess the candidate's timbre, technique, and other qualities. Caprice is one of the few pieces that sounds classical in nature which is different than most of the saxophone repertoire that is more modern. This piece shows the technical abilities of the saxophone in addition to the range of the instrument.
Paul Hindemith Bernhard Sekles Brahms 1895 1914 1915 1963 1986 1994 1995
- Composer: Paul Hindemith (16 November 1895 / 28 December 1963) - Performers: Danish String Quartet - Year of recording: 1995 String Quartet No. 1 in C major, Op. 2, written in 1914-1915. 00:00 - I. Sehr lebhaft 11:02 - II. Adagio 22:22 - III. Scherzo. Sehr lebhaft 28:44 - IV. Ziemlich lebhaft In his 1st string quartet, Hindemith (who was only nineteen years old) was trying to stand firm against the most highly challenging requirements of chamber music composition. Both musically and stylistically the music is based on a Brahmsian late-Romanticism, which would have been imparted to him by his second composition teacher at the Hoch Conservatory, Bernhard Sekles. Hindemith was concerned with extending and reshaping the traditional forms, which he favored, but without rendering them unrecognizable. In this work this results in an almost rampant, fit to burst musical prodigality, which Hindemith organizes through sophisticated compositional endeavor and which he makes easily comprehensible. The first movement is in traditional sonata form, but one whose formal components Hindemith elaborates in an unusually artful way. He leads the first subject through various forms, while he presents the second subject, which is closely related rhythmically to the first subject, in two different forms which are like variations of each other. In the development section he combines the motifs and themes by the use of strict techniques through both motivic and thematic treatment, as well as through counterpoint. Following the conventional recapitulation the coda is an ongoing continuation of the development. So the constituents of the form are distinguished from each other not only through their melodic and motivic material but also through their respective compositional structures. Moreover Hindemith colours these formal constituents by means of a subtly differentiated harmonic and tonal conception: - In the first movement the first subject remains firmly in the basic tonality of C major (the tonic), the transition to the next section is in D flat major (Neapolitan), the second subject in its first version is in E major (the mediant), its second version is in G major (the dominant), while the transition to the development section touches on A minor (the relative minor) as well as F major (the subdominant). By adopting such a well-planned compositional approach the nineteen-year-old composer certainly also demonstrates great skill, a skill which he would originally have learned and applied from Sekles's compositional methods, yet he is truly able to breathe new life into them through the freshness and originality of his musical invention. - Hindemith imbues the second movement with the character of a three-part funeral march, which is quite unusual in string quartet music. - The scherzo which follows, in complete contrast to the robust diatonicism of the first movement, is chromatic. Furthermore, in a lavish display of inventive abundance, he even gives this scherzo two trio sections, of which the first in particular exploits the tonal possibilities of the string instruments. - Hindemith writes the final movement in rondo form, in which (clearly modeled on the example of Brahms's Third Symphony) he refers back thematically to the funeral march of the second movement, in the manner of a cyclical rounding off. Hindemith completed the first movement of the quartet in the summer of 1914 immediately before the outbreak of the First World War and because of the war he at first stopped work on the piece. It was not until March and April 1915 that he continued work on it with the funeral march, a movement clearly relevant to that war when, to Hindemith's surprise, his composition teacher programmed the as yet unfinished work in an evening concert at the Hoch Conservatory. Under the greatest time pressure, which obviously acted as a stimulant, Hindemith duly completed the quartet and, as scheduled, it was given its première on 26 April 1915 in Frankfurt am Main by an ensemble of teachers and students, with Hindemith himself taking the first violin part. The quartet remained unpublished during the composer's lifetime; it was not performed again until 6 February 1986 and was finally published in 1994.
o
- cronología: Compositores (Europa). Directores de orquesta (Europa). Intérpretes (Europa).
- Índices (por orden alfabético): S...